John Cage, Variations VII (performance)
John Cage applied the principle of randomness to select the materials for his performance, but did not use any recorded audio tracks.
Lucinda Childs, Vehicle (performance)
In Vehicle, Lucinda Childs drew a parallel between situations that revealed the qualities and limits of each non-static stage element.
Öyvind Fahlström, Kisses Sweeter than Wine (performance)
Kisses Sweeter than Wine was a nine-part piece made up of various sketches joined end to end without any narrative continuity.
Alex Hay, Grass Field (performance)
Alex Hay structured Grass Field in accordance with three parameters: amplified biological phenomena; monochrome stage elements; robotic performers.
Deborah Hay, Solo (performance)
In Solo, Deborah Hay attributed equal time and visual prominence to all the elements of the performance, from the dancers and props to the lighting and soundtrack.
Steve Paxton, Physical Things (performance)
Steve Paxton created an environment in which the participants could move around freely, in the process blurring the sharp boundary that normally separates dancers and non-dancers.
Robert Rauschenberg, Open Score (performance)
Robert Rauschenberg derived the content of his performance from the characteristics of the performance venue.
David Tudor, Bandoneon! (a combine) (performance)
David Tudor put a traditional instrument (the bandoneon) on a circuit with an array of technological components.
Robert Whitman, Two Holes of Water - 3 (performance)
In Two Holes of Water-3, Robert Whitman juxtaposed the time frames specific to film and video through a theatrical setting.
Yvonne Rainer, Carriage Discreteness (performance)
Yvonne Rainer guided both dancers and non-dancers through a series of generic tasks, such as walking and carrying stage props from one point to another.