Despite Yvonne Rainer's subversive refusal to stage Trio A as a spectacle, to have it represent or narrate social structures, or to engage with the audience in a traditional manner, the landmarks of canonization have all been put upon it. The Banes-produced 1978 film of Rainer dancing Trio A was recently exhibited while the dance was performed live simultaneously by Pat Catterson, Jimmy Robert, and Ian White at the Museum of Modern Art, the institution that determines what constitutes important modernist and contemporary art in the United States and, indeed, the Western world. In conjunction with Rainer's famous NO Manifesto, Trio A appears in nearly every publication on so-called postmodern dance and art. Moreover, the key documentary on postmodern dance Beyond the Mainstream—containing Trio A—is screened in most dance history courses when postmodern dance is discussed. As a result, the choreography became not only a staple on syllabi in dance departments but also in disciplines such as gender studies, film and art history, or communications. Even Susan Au's Ballet and Modern Dance, a conservative historical text utilized in many dance history classes, defines Trio A as “one of the most influential works in the modern dance repertoire” (Au 2002, 155).