“Westbeth” was Cunningham’s first video collaboration with Charles Atlas, and the first video project to be made at the Merce Cunningham Dance Studio on the eleventh floor of Westbeth.

Merce Cunningham choreographed “Changing Steps” in 1973. In its original form “Changing Steps” consisted of a solo dance for each member of the company, 3 trios, 2 quartets and 2 quintets, which could be performed in order, and separately or overlapping if space allowed.

Performed like a series of vaudeville scenes that overlap, Antic Meet consists of ten playful and comedic numbers. The curtains opened with Cunningham moving among the other dancers as a clown-like figure "who falls in love with a society whose rules he doesn't know," and concludes much in the same way, as he attempts to keep up with the dancers, each with their own movements, as they dance diagonally across the stage. Cage provided the musical accompaniment, using a version of Concert for Piano and Orchestra, and Rauschenberg designed the costumes, which included fur coats and parachute dresses over black leotards.

Thirty years after the world premiere of legendary choreographer Merce Cunningham's August Pace, the original cast members gather in a New York City studio for the first time to teach their roles to a younger generation. Their reunion is a grand experiment in group transmission where the older dancers rediscover the work only to let it go and see it anew as observers.

A feature length film from acclaimed dance choreographer Merce Cunningham.

The décor for BIPED is an exploration into the possibilities of motion capture technology. The movements (but not the physical appearances) of the dancers were transposed into digital images. Paul Kaiser and Shelley Eshkar collaborated with Merce Cunningham to make a new piece of virtual choreography. The dancers involved in the motion capture process were Jared Phillips, Jeannie Steele, and Robert Swinston.

A multi-media event with choreographed dance, mobile decor, variable lighting, multiple film projection, and live-electronic music activated by the dancers' movements.

Cunningham said of his choreography for "Beach Birds", “It is all based on individual physical phrasing. The dancers don’t have to be exactly together. They can dance like a flock of birds, when they suddenly take off.” A work for eleven dancers, the rhythm for "Beach Birds" was much more fluid than other Cunningham dances, so that the sections could differ in length from performance to performance. John Cage composed the music, and painter Marsha Skinner provided the costumes and décor. The dancers were dressed identically in all white leotards and tights, with black gloves. Skinner’s backcloth was a white scrim on which the light varied in color and intensity, decided by a lighting plot that was devised using chance methods. While the timings did not relate to the dance structure, the gradual changes of light have been interpreted to imitate those that might occur from dawn to dusk on a beach.

Locale was designed to explore the possibilities of moving cameras and moving dancers in a film. Filmed at the Merce Cunningham Studio, Westbeth, New York NY, Jan - Feb 1979. First public screening at City Center Theater, New York NY, 24 February 1980.

This work was a dance shot for film at the Cunningham studio. Staging for Channels/Inserts was divided among the main studio, the small studio and the office area. Cunningham employed the use of chance operations to decide the order in which each space would be used, whether action would occur in more than one location at a time, and how many dancers would be involved. The piece was divided into sixteen sections, each varying in length. One of the most striking sections began with a series of brief, masterfully executed solos for the men of the company, filmed in the main studio, followed by a shot of the women in the small studio, laughing and chatting amongst themselves, then back to the main studio for a second round of male solos. Music was composed by David Tudor, and costume design was by Charles Atlas.