Martha Rosler envisions the female body as a site of struggle. In her chilling Vital Statistics of a Citizen, Simply Obtained (1977, 38 mins, Color), every inch of the artist's body is measured by an overbearing physician while a distanced voice-over recites a list of body standards and ideals and their disciplinary implications. Miranda July's eerie The Amateurist (1998, 14 mins, Color) draws the gaze back from the minutiae of the body to the more sweeping view of surveillance. A young captive (played by July), shown only as a televised image, is reduced to a collection of quantified postures. In Semiotics of the Kitchen (1975, 6 mins, B&W), a mock cooking demonstration, Rosler employs everyday culinary utensils with a vengeance. Her fury, coupled with the recitation of the utensils' names, subverts the kitchen as a place of oppression. The HalfLifers (Torsten Burns, Tony Discenza) turn the kitchen into an estranged domestic space, filled with charged “organics.” What at first appears to be a food fight in Actions in Action (1997, 10:30 mins, Color) is really a frantic struggle to overcome a psychoactive landscape.