When a garden leaves the earthly world and enters the film world, the splash of colors, the sense of cyclical time may remain, but there is also the potential for poetic meaning. The garden is a potent metaphor, blossoming in associations from the taming of the wilderness to sensual pleasures and the fragility of life. Film history itself virtually began with a garden film-L'Arroseur Arrosé (Teasing the Gardener), by Louis Lumière, and it has kept growing ever since. Now we have works ranging from Marie Menken's Glimpse of the Garden, a lyrical film in which the "gestures" of the camera open our eyes to the garden; and Phil Solomon's The Secret Garden, exquisite both in the surface of the image and in its probing of the depths of family relations; to Works and Days by Hollis Frampton, who came across a film on vegetable gardening in a Canal Street junk shop and "found myself in complete agreement with it."-Kathy Geritz L'Arroseur Arrosé (Louis Lumière, 1895, 3 mins, Silent, B&W). The Municipal Garden (Steve Osborne, 1984, 3 mins, Silent, Color). Eaux D'Artifice (Kenneth Anger, 1953, 13 mins, Tinted). The Garden of Earthly Delights (Stan Brakhage, 1981, 2.5 mins, Silent, Color). Transplanted Seven Years Later (Leslie Alperin, 1986, 2 mins, Silent, B&W). The Secret Garden (Phil Solomon, 1988, 23 mins, Silent, Color). Works and Days (Hollis Frampton, 1969, 12 mins, Silent, B&W). Punching Flowers (Joe Gibbons, 1976, 3 mins, Silent, Color, super-8mm). Les tournesols and Les tournesols colorés (Rose Lowder, 1982-83, 6 mins, Silent, Color). Mr. Hayashi (Bruce Baillie, 1961, 3 mins, B&W). Glimpse of the Garden (Marie Menken, 1960, 5 mins, Color).