Yvonne Rainer brings performance to its asethetic and political apex in her artwork. A novel revolution of performance, Rainer, in her oeuvre, attempts to re-unify “real-time” movement through acts and operations which totally liquidate concepts of time and duree. The essential liberation moment of performance, Rainer shows, is tied within dance’s ability to escape the cycles of mechanical and general reproduction. Labor is totally expended in the act, and provides no material possibility in the future. Thus, dance is elevated to the political, in which it resists the cycles of reproduction all other arts appear to be condemned to. Thus the ontology of dance becomes that of political resistance, a new way of living-in-time that relinquishes a subservience to capitalism’s deus ex machine; the conflict between linear history and mechanical reproduction.