I loved Trenary and agree with everything SLIVER wrote.
People tend to remember the 1990 programs, but forget that her pre-1990 programs were packed with jumps, steps, and skating that never stopped.
1990 was a deliberate change in style, one that ended up influencing everyone from Oksana Baiul to Michelle Kwan (and probably a decade of costumes). There were fewer elements but held for longer, with every move finished. The program incorporated modern dance and new age music in a way that was different from anything we had seen previously. It may also be one of the first instances of a singles skater turning to an ice dancer (Renee Roca) for choreography? It's easy to look back on the program now, with knowledge of everything that followed (and improved upon) it, and forget that at the time it was an enormous departure and a big risk for ladies skating. It started so many trends in costumes, music, look, and choreography.
Some of Trenary's work as a pro - especially "These Boots," but also her "Caravansary" program (which I'm not sure she ever really skated well) - was also noteworthy. She was one of the few pros who seemed to challenge herself choreographically, probably due to the Dean influence.
On the athletic front, Trenary's triple salchow was the best in the business: +5 when landed, either from the one-foot axel or a spiral. Her triple toe loop was also of high quality when she landed it. I loved the split jumps both into and out of the jump, e.g., 1988 free skate. (This is the type of stuff CoP should reward.) Her clean edge double axel and the double flip with her arms at her side (much more attractive than the 'tano / rippon positions we see today) also deserved high marks.
They did phase them out, no? From 30 percent to 20 percent in 1988-90, before elimination.