Nature tamed is at one remove the stuff of all art. To render the things of the world inside a frame is to civilize them, relegate them to the ideas of man. In the case of video art, the frame is replaced by a box and time moves through the renderings. This show proposes the flow of time as the progress of culture, so nature first becomes a garden through the simple adoration of its surface, as seen in Shigeko Kubota's elegant Rock Video: Cherry Blossoms (1986, 12.5 mins, Silent), a hyper-process piece of delicate pink petals. The mythopoeic places a human face on the wilds, injecting the florid hillocks of Berkeley with the seasonal tragedy of a Greek goddess, in Sarah Cahill and John Sanborn's Persephone (1993, 4.5 mins). Now possessed by Man, nature is inverted and the garden becomes the aestheticized remnant of a faded rough: Mary Lucier's charmed Ohio to Giverny: Memory of Light (1983, 19 mins) journeys back to Monet's famed garden and its picture-perfect perennials. In Cahill and Sanborn's House Poem (1992, 4 mins), the verdant zone around their home is a buffer before the bustle of city life. But a similar stretch of flora is unintentional home to the untamed in Cecilia Condit's Suburbs of Eden (1992, 15 mins), where a serpent coils beneath the bliss. Finally, the garden is uprooted as a fecund commodity in Phil Patiris's Biosphere After Dark (1993, 6 mins), a grim tale of denatured nurture.-Steve Seid