The title of Pam Tanowitz's new dance summed up its spirit: "Informal." When her Open 24 Hours Dance Company presented it on Monday night as part of hte Works and Process series at the Solomon R. Guggenheim Museum it proved to be an amiable romp for Anne Lentz, Rashaun Mitchell and Tom Gold, a guest artist from the New York City Ballet.

Yet its apparent casualness was a theatrical illusion.  "Informal" was shrewdly choreographed.  Thus a frisky loping solo for Mr. Gold was based on intricate variations on a few basic steps.  And in a cleverly contrived duet, Mr. Gold and Ms. Lentz seemed always physically and emotionally close together, yet only rarely and fleetingly did they actually touch.

Dan Siegler's score emphasized repeated melodic fragments and jaunty and emphatic rehythms, and it was played by Egil Rostad, cellist; Joan Wasser, violinist, and Mr. Siegler, pianist.

Panel discussions are a regular feature of Works and Process events.  In this one, moderated by Elizabeth Kendall, a dance writer, Ms. Tanowitz and Mr. Gold discussed the choreography's intricacies, and Mr. Siegler commented on his rhythms.  The conversation was unpretentious and to the point: what the panelists talked about was indeed what one saw and heard in the dance.

"Informal" was preceded by "Monument", a work to recorded trio sonatas by Corelli danced by Megan Brians, William Petroni, Ms. Lentz and Mr. Mitchell.  Like Corelli, Ms. Tanowitz alternated slow sequences with brisk ones.  The dance's progress became formally predictable.  But many of its stately and lively choreographic moments were attractive.