BECKET, Mass. — The summer season of dance is winding to a close. But there is still some magnanimous movement out there — mainly coming from Aspen Santa Fe Ballet.

Now performing at Jacob’s Pillow, this engaging ensemble of 11 is showcasing four works by a roster of international artists. Artistic Director Tom Mossbrucker obviously chose these choreographers for their artfulness as well as their ability to surprise. Paired with the fine dancers of Aspen Santa Fe, works by William Forsythe and Jorma Elo not only throw off audience expectations, but keep the eyes and the imagination alert.

The evening, as seen on Wednesday night, is one of the better ones appointed by the Pillow this summer. The program opens strong with Helen Pickett’s bright “Petal.” Four women, dressed in yellow with undulating torsos attract four men, in blue. The men are bees to the female flower, trying to feed off their limbs that trail off in unexpected directions.

Unpredictable paths

Moving to the hum of music by Philip Glass and Thomas Montgomery Newman, the dancers are marvelous in this counter-intuitive dance. The legs and arms are independent from the rolling groins, directing the dancers in unanticipated trajectories.

Equally unpredictable and delightful is Elo’s “1st Flash,” set to the Concerto for Violin and Orchestra in D minor by Sibelius. A rectangular light box, suspended from the ceiling, illuminates the dancers as they spin out variegated hand gestures. They swat the air, toss invisible fairy dust, twist their arms behind their backs all to rolling steps that swing from fast to slow to still. The dynamic and moods shifts constantly without ever becoming illogical. Thus, both audience and dancers are swept up into the mercurial moves. Finally, the light box flashes and the curtain slowly closes on a couple winding about each other in the shadows.

Pedestrian gestures play the main role in Itzik Galili’s “Chameleon.” To John Cage’s “In a Landscape,” five women sit at the edge of the stage in bright green chairs. They plow through a series of expressive motions — smiling, waving, slumping, pointing, staring. They do so either in precise unison or in a wave.

Moments of humor

There are humorous moments, when one of the five rebels and does something completely different. In the end, Galili drive home the point that body language is as graphic and revealing as words.

Finally, Katherine Eberle and Sam Chittenden dance Forsythe’s dimly lit “Slingerland.” Though classical in feel, with Chittenden showing off Eberle’s lovely line and fluid frame, the piece has a look that could not be pinned to time or place. With Eberle in a oblong, stiff tutu and no tights, and Chittenden, in baggy leggings, the dancers transcends another plane. And so too does the audience.