Greenberg's work is characterized by a "choreographic lexicon that integrates kinesthetic, emotional, and cognitive ways of knowing and representing the world and the self".
However, Cunningham's influence can be seen in Greenberg's practice of working with the non-fiction of the body on stage and combining different elements, such as movement, projection, and sound, that leave the responsibility of meaning-making up to the audience.
It featured Greenberg alongside former Cunningham dancer Louise Burns, as well as Janet Panetta and Susan Blankensop.
One critic theorized that perhaps the title was a reference to Greenberg's differentiating himself from the Cunningham Company, which he was still a part of at the time.
[6] This hypothesis manifested the following spring when Greenberg made his first piece after leaving the company, entitled "Morphine".
Greenberg has spoken about being influenced by Alfred Hitchcock in terms of using techniques found in suspense films, as well as filmmakers Akira Kurosawa, Federico Fellini and Martin Scorsese.
As the title suggests, the dance uses disco music that references the popular culture that was prevalent when Greenberg first came to New York City in the '70s.
Critic Ann Daly wrote that the trilogy is like "a serial novel choreographically re-imagined for the age of AIDS", as it tracks the history of the company and the dancers over the course of four years.
In "Destiny Dance" Greenberg first used video in rehearsal as a way to cull set movement material from his own improvisation.
There is also a video monitor on stage that shows footage of various forms of running; horses, people's feet, and a Japanese woman in a kimono.
[14] Greenberg's next piece, “Partial View” continued his exploration into media - also using both pre-recorded and live feed video.
The prerecorded video was courtesy of theatre artist John Jesurun and was displayed on two screens at the back of the stage.
[16] Due to the successful reception of the commission, Greenberg was asked to choreograph again for the White Oak Project the following year, in 1999.
The result was a piece entitled "Macguffin, or How Meanings get Lost (revisited)", which was mostly a solo for Baryshnikov, who was only joined for the last few minutes of the dance by the other White Oak Dancers; Raquel Aedo, Emily Coates, Emmanuele Phuon, Ruthlyn Salomons and Susan Shields.
It also made use of multi-media in a similar way to some of previous pieces, as it used three cameras to capture live-feed video of the dancers on stage, as well as pre-recorded footage of Greenberg himself[18]