In the final installment of our serieswhich began in November, the compromised subject is replaced by itsfabricated double. Here, fact blurs its own integrity and fiction posesas objective occurrence. "Truth" as a recognizable ensemble ofgestures is the sly topic of Shelly Silver's Meet the People. A largegroup of people, many of them advertising "types," talkdirectly to the camera about their lives. Fake visual anthropology, Meetthe People comments on the surprisingly small roster of individualsbrought to us through the media. Lynn Hershman's Double Take plays amercurial game in which fact and fiction cross-dress. This allegeddocumentary about a woman living on the streets is ruptured by an overtinterest in the origins of its own footage. Add brazen moments oftheatricality and doctored imagery, and you have a ficto-doc in whichthe slippery subject offers only suspect glimpses of reality. Cult ofthe Cubicles peers into the chasm of veracity and sees its own image. Inwhat is ostensibly a truthful chronicle of his life, George Kucharwanders about New York City, visiting old high school chums. Hisobservations are hilarious and subtly caustic. But something is amiss.When the record of his life lacks the necessary drama, Kuchar injectshis wry personality into the space of his subjects, or outrightfalsifies the everyday events of this alleged diary. Thus, a battlewaged between Kuchar's ego and the assaulted "other" explodesour ability to distinguish friend from fabrication. Steve Seid