MAYBE THE MOST intriguing aspect of Bill T. Jones's artistry is the way he keeps reinventing himself. He has been choreographing since 1971, at first creating duet work for himself and his dance and life partner, Arnie Zane. It was edgy, abstract, and powerful. Then came an operatic, controversial period. In the past few years, Jones seems to have renewed his interest in formally more abstract work. But with the 2003's Reading, Mercy and the Artificial Nigger, based on the Flannery O'Connor story, a concern with how to deal with narrative has returned. Reading is a haunting tale about prejudice, race, and fear. It chronicles a daylong journey from the country to a city by an old man and his grandson. Despite its incendiary content, the story, which will be read live by Jones and his sister, Rhodessa Jones (Thurs/19 and Sat/20), is cast both race-blind and gender-neutral. Mercy 10 x 8 on a Circle, an examination of duo form, is inspired by the same O'Connor story; as accompaniment, Julie Steinberg plays Beethoven's 32 Variations on an Original Theme in C Minor. Live music also supports two older, recently reworked pieces, There Were ... and Continuous Replay. Thurs.-Sat., 8 p.m.; Sun., 2 p.m., 700 Howard, S.F. $35-$52. (415) 392-2545, www.performances.org. (Rita Felciano)