Tonight's program of historical work begins with Len Lye's vibrant Technicolor masterpiece Trade Tattoo, created by an elaborate process of stenciling abstract patterns onto documentary footage (U.K., 1937, 6 mins, 35mm, PFA Collection). Robert Breer's witty and delightful animations include the early Eyewash, a mix of animation and "live" footage, with color added by hand (1959, 3 mins, Silent, Film–makers' Cooperative). Beverly and Tony Conrad describe their Straight and Narrow as "a study in subjective color and visual rhythm." A black–and–white film, it produces hallucinatory color through the flicker effect (1970, 10 mins, B&W, Film–makers' Cooperative). Rose Lowder's depictions of sunflowers use frame–by–frame focus adjustments to create bursts of exquisite color (Les Tournesols and Les Tournesols Colorés, France, 1982–83, 6 mins, Silent, Canyon Cinema). Chick Strand's sensual and intimate Fake Fruit documents young women as they make papier-mâché fruit and vegtables in a Mexican factory (1986, 22 mins, PFA Collection). Colors overflow and spill in Matthias Müller's Alpsee, a lush, haunting portrait of childhood (Germany, 1994, 15 mins, Canyon Cinema). Paul Sharits's rarely shown two-screen projection Dream Displacement manipulates strips of pure color into surprising, dislocating rhythms (1976, 25 mins, Film–makers' Cooperative).