This exploration in reducing dance to the essentials climaxed with one of Rainer’s most famous pieces, Trio A (1966), initially part of a larger work entitled The Mind Is a Muscle. Something of a paradigmatic statement that questioned the aesthetic goals of postmodern dance, Trio A was a short dance that consisted of one long phrase. In Trio A, Rainer intended to remove objects from the dance while simultaneously retaining a workmanlike approach of task performance. Not simple but certainly not fancy, it was a demanding piece of work, both to watch and to perform. She explored such dynamics as repetition, the distribution of energy, and phrasing. The movement consisted of task-oriented actions, emphasizing neutral performance and featuring no interaction with the audience. The dancer was to never make eye contact with her observers, and in the case that the movement required the dancer to face the audience, their eyes were to remain shut for the duration of their face time. The first time the piece was performed it was entitled The Mind is a Muscle, Part 1, and was performed by a set of three simultaneous solos by Rainer, Stephen Paxton, and David Gordon. Trio A has been widely adapted and interpreted by other choreographers.