The films of renowned Los Angeles artist Sharon Lockhart are indebted to dance, theater, and the visual arts; they are at once choreographed in their movement, modernist in their sensibility, and ethnographic in detail. Lockhart is as interested in depicting daily life as in staging it, in the art of the world as in the world of art. While much of her work is minimal in style, it raises crucial questions about our expectations as an observer. She sets up rigorous patterns only to surprise us, and creates demanding films that are utterly pleasurable. Lockhart's use of a fixed camera and durational shots to highlight the structure and rhythm of routines and rituals is related to her photographic work, as well as to structuralist cinema. Her most recent short, No (2003, 34 mins), is a beautiful landscape film set in Japan that documents everyday work as two figures literally alter the ground. The title refers to Japanese theater and is a Japanese word for agriculture. It is presented with Lockhart's earlier Goshogaoka (1997, 63 mins), which documents junior high school girls in a suburban town in Japan as they practice basketball, their movements mesmerizing and magical.