"Karen Goodman is graced with a long-limbed, lithe body other dancers envy and choreographers find inspirational. Add to that her versatility, technique and warm stage presence and it's easy to see why photographer Harvey Edward posed her at the barre in pointe shoes (and sold lots of posters) and Rudy Perez centered his postmodern movement on her, the way Givenchy swathed Audrey Hepburn in couture." Ann Haskins, L.A. Weekly, 1999 "Karen Goodman's spare, formalist solo 'Crossing' emphasized distance, showing how the process of moving ever forward into unknown terrain involves the heroic conquest of fear. Vanquishing that fear: a reaching hand with a will of its own, a questing drive that carried the whole body onward." Lewis Segal, Los Angeles Times, 1998 "Karen Goodman exhibited fantastic control and depth. The eloquent, long-limbed Goodman lets you see where the impulse of her movement is at all times; dance seems to pass through her." Sasha Anawalt, L.A. Weekly, 1998 ". . . she seems to experience deeply the simplest physical tasks as if they held some profound secret. . . .Goodman takes nothing for granted and so fully invests herself in such passages that they become genuine performance events, rich with metaphysical implication. . . .with an invigorating sense of irony, [she] labels herself 'Artist-American.' While she dances, she makes that designation the only one that matters." Lewis Segal, Los Angeles Times, 1993
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