Wait (1968). Two people sitting in a room. Silent. Nothing seemingly happens. The light no doubt is the key....it punctuates the events, it tells the story, it sets the tone.-Jonas Mekas (7 mins, Silent, Color, 16mm)

Rear Window (1986–91). (A) view from a Brooklyn apartment sublimates Hitchcock's voyeurism into a frenzied engagement with the visible....Gehr (links) the film to his father's death, calling it a “hopeless attempt” to render the ephemeral tangible.-J. Hoberman (10 mins, Silent, Color, 16mm)

Shift (1972–74). The film is Gehr's first to employ extensive montage....Table is pure visceral sensation; Shift is more dramatic. The actors, however, are all mechanical-a series of cars and trucks filmed from a height of several stories as they perform on a three-lane city street.-J. Hoberman (9 mins, Color, 16mm)

Table (1976). A celluloid equivalent of a cubist still life-with an uncanny element of Vermeer as well. The subject is an ordinary kitchen table, a homely clutter of crockery and utensils (transformed) into a stuttering, hypnotic shuffle.-J. Hoberman (16 mins, Silent, Color, 16mm)

Glider (2001). Cool, delirious, and mysterious. Futuristic, yet ancient. A voyage into a pictorial space-world that seems to be governed by extraterrestrial optical and gravitational laws.-E. G. (37 mins, Color, Mini-DV)