Since the mid-1990s European dancers and audiences have played a significant role in the revival of interest in Yvonne Rainer's dance work. Two key examples of this are the restaging of Rainer's Continuous Project-Altered Daily (CP-AD) in 1996 by the French group Quatuor Albrecht Knust and the more recent creation and trial of the Labanotation score of Trio A in London. In her reminiscences printed above, Pat Catterson suggests that Trio A' s “relaxed natural quality, equality of parts, its tame simplicity, and durational patience may be out of synch with today's Zeitgeist.” During Charles Atlas's documentary, Rainer Variations, Rainer herself suggests today's audiences would no longer be prepared to sit through the long slow works she made during the Judson period. If this is currently the case with audiences in the United States, it is not so on the other side of the Atlantic. European audiences for innovative dance and live art seem prepared to take the time to experience and appreciate slow, demanding, experimental work.

European choreographers and dance artists who have been interested in Trio A often have a keen and sophisticated, if idiosyncratic, interest in dance history. Artists I have spoken to suggest this interest helps them build on what has already been done and makes them aware of a broader range of creative possibilities. Some say they find it useful to discover dance artists in the past who were working in ways that are similar to their own practices. For example, Xavier Le Roy, who took part in the 1996 restaging of Rainer's CP-AD, performed the “chair pillow” section from it during his 1999 performative lecture Product of Circumstances. His discovery of ordinary, task-based, and pedestrian movement in Rainer's work affirmed his own research into similar kinds of movement.