Wind imagines a dying child, a common event until recently and still so in many parts of the world today.

The Grandmother recites the Mourners' Kaddish over her granddaughter.

This video uses a yoga performance by Barbara Breder to explore the masks of life and the dance of death.

Sitting at an altar decorated with a kitsch collection of cultural fetish items, and wearing a border patrolman’s jacket decorated with buttons, bananas, beads, and shells, Gómez-Peña delivers a sly and bitter indictment of U.S.

Detail is indeed a detail. It is an excerpt from Mograbi’s feature film Avenge But One of My Two Eyes, where human conditions face military situations.

A military installation is beset by unidentified flying objects while the personnel try to come to grips with their own mysterious yearnings and the cumbersome protuberances that protrude from their own species.

Since comets have been recorded, they've augured catastrophe, messiahs, upheaval and end times.

Filmed from the artist’s window during lockdown, Citadel combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline

Tapping into cable because of his lousy reception, Mike gets more than he bargained for as he unwittingly becomes trapped in the medium—the “star” of his own cable TV show.

"Harun Farocki was commissioned by the Lille Museum of Modern Art to produce a video about his work. His creation was an installation for two screens that was presented within the scope of the 1995 exhibition The World of Photography.

I loved and was haunted by Jon Krakauer’s book Into the Wild and found Sean Penn’s cinematic adaptation to be absurdly overwrought. My original plan for condensing it was to string together all of its grandiose slow-motion shots.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the streets. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction.

The installation created by Monica de Miranda in collaboration with Teatro GRIOT accompanies the play Os Negros. It includes a photographic and video exhibition that abstractly uses the images inspired by the play.

Duet for Tap and Galoshes is a visual restructuring of a real time tap performance, presented in two parts.

In Two-Spirits Speak Out, Brenda and Glennda interview members of We'Wah and Bar-Chee-Ampe, one of the first Two-Spirit Native American organizations in New York.

There is so much to absorb: the wetness from the sky. The hooded figure in the box. A big plate of pasta, and that chair on wheels. Messages of moral guidance clash with actions that are on a collision course with dilapidation.

Inspired by a riff on a popular joke “Everybody wanna be a black woman but nobody wanna be a black woman,” Notes On Gesture is a video comparing authentic and dramatic gestures.

Re-mastered in 2005, Reel 2 features a series of demonstrations and durational tests: how to protect oneself from germs; how to turn a roll call into a role play; and an excruciating exercise in desire, as Man Ray attempts to get his just rewar

Since his early days in Ant Farm, Lord’s evocation of the automobile has been the car as avatar, as the spirit of America—that consummate combination of superior organized corporate technology and the pioneering triumph of the willful individual driver.

Are gender outlaws considered the new biological terrorists seeking weapons of mass bodily destruction? OPERATION INVERT compares the different regulations mediating botox-related plastic surgery and gender reassignment "sex change." Historical

Volume 2 includes the pixelvision works made in 1992: A Place Called Lovely, It Wasn't Love, and Girlpower.

Encounters I May Or May Not Have Had With Peter Berlin deals primarily with monumentality, narcissism and the ways in which our heroes are embedded into our identities, and manifested through the body.

In a fictional conduit space, language and function are recontextualized as the HalfLifers struggle to re-assess the nature of their mission while engaged in an eternal cycle of maintenance and communication routines.

Military Road is a project of visual mapping of the suburban realities of the city of Lisbon in connection to the migrant fluxes to Europe conected to de-colonization and the end of the Portuguese Empire in Africa.

Sixty-five years after the Allied invasion of Southern France, the director's mother, Cecily Barker Finley, tries to recall her involvement as a social worker aboard a WWII Red Cross ship.

An imaginary room resembling a swimming pool. An actual body of water. Sea creatures carried by the wind. Plastic. A dance film that leaves us primarily in the dark. A dance score for the choreographer Joanna Kotze.

Voice: Maureen McLane

A collection of love tapes made at the Metropolitan Correctional Center, a federal prison in New York City. The videos are part of Wendy Clarke's ongoing project, Love Tapes.

An eloquent personal narrative about the meaning of childhood and the use of children as political tools—specifically by “Right-to-Lifers” participating in the blockades of abortion clinics.

The secret lives of invisible magnetic fields are revealed as chaotic ever-changing geometries. All action takes place around NASA's Space Sciences Laboratories, UC Berkeley, to recordings of space scientists describing their discoveries.

Stasi is an audiovisual recall of the political and social substrates that sustain an actual system of images. Stasi is a recall of a system of images that, even now, dominates the global gaze of the world.

M+ Museum presented A Body in Hong Kong in two locations as part of Mobile M+: Live Art, 2015. Tim Mei Avenue, where Eiko chose and performed, was the main site of 2014 Umbrella Revolution.

In Chicken on Foot, Sobell bounces a chicken carcass as one would a child, periodically crushing eggs (fetal chickens) on her knee.

Taking its name from the Jim Crow-era of black criminals staring at white women, this hand-processed, optically-printed amalgam reframes desire by way of everything from D.W.

A single-shot, choreographed portrait of the Foley* process, revealing multiple layers of fabrication and imposition. The circular camera path moves inside and back out of a Foley stage in Burbank, California.

As one of the early media collectives, Raindance Corporation celebrated an eclectic use of the portapak by taping everything from man-in-the-street interviews to concerts and demonstrations.

Performing artist Neil Bartlett plays a gay lecturer whose attempt to go back into the closet is betrayed by the contents of his briefcase.

A compilation of two videos that wittily explore counter-cultural identity through lesbian portrayals of iconic stars: in this case, the Beatles and British playwright Joe Orton.

At the heart of Alone With You is the notion of impassioned avarice, i.e. the kind of motivated acquisitiveness that drives both erotic desire and obsessive collecting.

She Mad is an episodic project that uses fragments from the sitcom format to explore the sign of blackness in the public imagination.

Illustrating the modern woman’s mantra “I shop therefore I am", Barbara Latham’s Consuming Passions examines the passion for sweets as a replacement for a sense of security and a source of erotic satisfaction.

This film is an appropriation from the 1953 movie Gentlemen Prefer Blonds.

Tour Without End is an experimental hybrid feature-length video work that casts real-life musicians, artists, and actors as fictional bands on tour; the piece evolves into a cross-generational commentary on contemporary culture and politics in the Trump era. Shot over the course of four years between 2014-18 at over 15 DIY music spaces in and around NYC, Tour Without End functions as a time capsule — made more apparent by the shuttering of many of its locations due to NYC’s rapid gentrification.

The work’s multitude of characters are legendary performers in the downtown NYC arts scene, including: The Wooster Group founder Kate Valk, Jim Fletcher (New York City Players), Lizzi Bougatsos (Gang Gang Dance), Kathleen Hanna (The Julie Ruin), Brontez Purnell (The Younger Lovers), Eileen Myles, Alexandra Drewchin (Eartheater), Nicole Eisenman, K8 Hardy, Johanna Fateman (Le Tigre) Shannon Funchess (Light Asylum), JD Samson (MEN), Gary Indiana, Kembra Pfahler (Voluptuous Horror of Karen Black), Rachel Mason, Tom McGrath, Matthew Asti (MGMT), Becca Blackwell, Christen Clifford, Alessandra Genovese (Crush), Rogelio Ramos (Love Pig), Kenya Robinson (Cheeky LaShae), and Neon Music (Youth Quake).

During her graduate studies at Hunter College, Alice Aycock (b. 1946) began to forge links between personal and more inclusive subject matter and form. In her quest for contemporary monuments, Aycock wrote her Master’s thesis on U.S. highway systems.

Benning illustrates a lustful encounter with a “bad girl,” through the gender posturing and genre interplay of Hollywood stereotypes: posing for the camera as the rebel, the platinum blonde, the gangster, the '50s crooner, and the heavy-lidded vamp.

In the next chapter of Bobby Abate’s mysterious lo-fi cyborg tale, we find ourselves roaming the set of a 1960’s evening newscast.

Rist explores the macrocosm of humanity in a video art and music collaboration. A lyrical tale of a witch's coven is played over images of a person where each body part symbolically represents an area of the world.

There is no need to "sin" because Hell is here, just go to the window and peek out…. It’s next door and is on display in this movie.

Your Money or Your Life is a video essay on street crime, and on the role played by an atmosphere of pervasive (white) urban fear in structuring and renewing racial antagonism and inequality.

This wonderful and wide-ranging saga of New Age sensibilities in conflict with down-and-dirty urges takes the viewer on a roller coaster ride into the freak show world of actors and actresses in need of adequate direction.

A short breather that smells of ocean salts and barbecued chicken. Friends gather for a celebration in the sun as the surf rolls in and the smoke heads skyward toward who knows what destiny?