It is believed many of those were reduced-price concessions offered to supporters, including official 08 sponsors, though the Culture Company has been unable to provide a detailed break-down.
Half of those who did attend had been given free tickets.
Super Vision was unveiled in January as the first of six key events of the 2006 Liverpool Performs year, seen as a crucial "dry run" for Capital of Culture year in 2008.
The multi-media show was brought to Liverpool's Royal Court for its European premiere by the Liverpool Culture Company and was seen by many as the first major test for its artistic director, Robyn Archer, a long-term fan of the team behind the show.
The upper circle at the Royal Court was not open during the three performances - producers felt the performance needed to work in a more "intimate space".
It is thought to have cost around £250,000 to stage - though some of this was due to modifications needed at the venue - but failed to capture the public imagination in its run at the start of this month. Ticket sales were at just 40% of capacity.
Last night, a Culture Company spokesman said the show had been "designed to explore new art forms and test the market for this work."
However, Cllr Steve Rotheram, opposition spokesman for leisure and culture, said: "It does not bode well, it doesn't sound like it has engaged many people across the city."
Super Vision was created by New York's The Builders Association and dbox and was directed by Marianne Weems, who also held workshops with local artists during her stay in the city.
The flagship production looked at surveillance in contemporary society, where everyone has a database, and used architecture, video and stage performances.
Cllr Rotheram added: "We have to ask questions about this, I will be raising this with the select committee.
"We must not be churlish about it; culture is not just about putting the same things on time and time again. We need to have a programme with a wide scope.
"But we do need to ask what research was done to find out if there was a market for this kind of production. We do need to make sure that the programme appeals to people in the city.
"The money spent on this could have made a big difference to the culture wards on the outskirts of the city.
"Scrutiny is a vital part of the process in making sure 2008 is the massive success we want it to be." The Royal Court usually has a seating capacity of around 750 across the stalls and the circle, but this was reduced to 508 because of the technical specifications of the show.
Around 500 people attended the opening night on May 4, dropping to 330 on the final night.
Robyn Archer has been keen to bring new and unusual productions to the city as part of the Capital of Culture build-up.
The artistic director says she does not want to replicate what is already on offer and instead wants to create new audiences.
When Super Vision opened, she said: "I've been a great admirer of their work for a long time.
"This is an exciting new production and will be one of the highlights of our themed year Liverpool Performs.
"It's also given the Culture Company invaluable commissioning, marketing and ticketing experience as well as exploring the potential of venues like the Royal Court and developing and targeting new audiences. I'm sure audiences will be enthralled by this hugely entertaining and original production."
Liverpool Performs, the fourth of the themed years in the run-up to 2008, is seen as a trial run to the city's reign as Capital of Culture in 2008.
Other showpiece productions include the Trisha Brown Dance Company at the Playhouse on June 7-8, and Scrap Arts Music, a family show featuring five musicians who play a fusion of world music on instruments they have made from scrap metal, at the Royal Court on October 10. A spokeswoman for LCC said: "The European premiere of Super Vision at Royal Court Theatre was designed to explore new art forms and test the market for this work.
"It was also an opportunity to work with artists and new partners and upgrade the facilities at the Royal Court.
"Roughly 50% of tickets were complimentary, given in a targeted way to develop new audiences, include grass roots communities and involve cultural partners."