Arrayed in indigenous drag, performance artists Coco Fusco and Guillermo Gómez-Peña appeared in a locked cage, so-called specimens of a tribe of "undiscovered AmerIndians." Displayed in museums and public spaces, the "natives" were met with curiosity and affection, but rarely outrage at the fact that these "primitives" comprised a living exhibition. The Couple in the Cage: A Guatinaui Odyssey wittily observes a cultural myopia still very much at large. Marlon Fuentes, a Filipino artist who left Manila for America, never to return, narrates Bontoc Eulogy, his inquiry into the life of his grandfather, Markod, a headhunter from the highlands. Like Fuentes, Markod had left the Philippines for America, however his journey was as part of an exhibit for the 1904 St. Louis World's Fair, a contingent of eleven hundred natives brought as components for a large "ethnographic display rack." Paraded beside other marvels of world culture, Markod and his brethren endlessly repeated tribal rituals as scheduled entertainments at the fair. Their bizarre status as demonstration models kept them marooned in their "Philippine Reservation," apart from culture, yet representatives of it. Counterpointing archival footage and re-enactments with his own meditation on what it means to be Filipino, Fuentes, an ethno-biographical sleuth, raises intriguing questions about authenticity and cultural exploitation.-Steve Seid