To see an entire program of dances produced by a much-admired choreographer is to enter into a whole new relationship with the artist. That was the revelation of the second program presented by Morphoses/The Wheeldon Company at City Center. Mr.

Wheeldon’s skewed and tangled lifts and his placement of dancers reclining on the floor look shockingly but yeastily iconoclastic in an evening shared with George Balanchine or Peter Martins at the New York City Ballet , where he honed his craft as resident choreographer. In “Morphoses” and “Mesmerics,” performed on Saturday afternoon, the lifts and reclines looked occasionally like gimmicks and more often like choreographic tools. The company name — taken from a piece Mr.

Wheeldon choreographed for City Ballet in 2002, which in turn took its name from the title of its Ligeti score — suggests that Mr. Wheeldon has embraced the constancy of change. The company, still a fledgling effort, makes it possible to revisit Mr. Wheeldon’s work and style.

“Morphoses,” here performed by Wendy Whelan, Craig Hall, Sterling Hyltin and Edwaard Liang, looked like a flowing chain of dances punctuated by duets for sharp-angled women’s bodies quietly manipulated by male partners. “Mesmerics” was created in 2003 and performed in New York that year by George Piper Dances, a breezy British dance troupe founded by Michael Nunn and William Trevitt, former Royal Ballet dancers. Three of the original performers — Mr. Nunn, Mr.