Nauman stands with his back to the camera, repeatetedly drawing the bow across the strings of a violin tuned D, E, A, D.

From an inverted position, high above the floor, the camera records Nauman’s trek back and forth and across the studio; his stamping creates a generative rhythm reminiscent of native drum beats or…

The inverted camera catches Nauman standing at the end of the room, slowly spinning around on one foot, first head down in one direction, then head up in the other direction.

Nauman is seen standing and leaning back in a corner of his studio. Just as he bounces back to a standing position, his body falls again, momentarily collapsing, only to spring forward once more…

Repeating the same activity as featured in Bouncing in the Corner, No. 1—leaning back and bouncing forward from the corner—this time the camera is positioned just above Nauman’s head.

Making himself into a “minimalist” prop sculpture in the manner of Richard Serra, Nauman moves through various poses in realtion to the floor and wall.

Segalove gives us another series of true incidents involving the powerful influence of television on life, relationships, and attitudes.

Calling for oil like the Tin Man in The Wizard of Oz, Son Of Oil is a tale of the well-greased machine of the mind breaking down.

“A short image-processed work, Thousands Watch deals with the issue of nuclear suicide.

Rosler calls Domination and the Everyday, with its fragmented sounds, images, and crawling text, an artist-mother's This Is Your Life.

Rosler uses the format of a cooking demonstration (as in Semiotics of the Kitchen) to address cultural transaction--the meeting of Eastern and Western cultures.

Taking aim at the social standardization enforced particularly on women's bodies, Rosler critiques the politics of "objective" or scientific evaluation that result in the depersonalization,…