In her ongoing series, which to date includes Peggy and Fred in Hell, Peggy and Fred in Kansas and Peggy and Fred and Pete, Leslie Thornton continues her examination of sexual differences and experiences on the edge-whether in a Hell on the border of socialization, a Kansas of the imagination, or with Pete, short perhaps for repeat. Peggy and Fred are two eerie children inhabiting an eerie world, the more so for its seeming familiarity. While nothing much really happens in Hell nor Kansas-Peggy and Fred sing, dance, explore-neither does much make sense. Purposely, evocatively, Thornton creates ambiguous, puzzling images and sounds whose meanings are elusive, obscured. In Peggy and Fred and Pete, Thornton repeats found footage, in forward and reverse; retroactively the madness of Hell and play-acting of Kansas come together to suggest possibilities of seeing the world again, differently. As linearity is confounded, and beginnings and endings ellipsed, Thornton suggests a world where meaning is fluid rather than fixed. Comparisons between voice/body, sound/image, ambiguity/lucidity, documentary/fiction are suggested, but Thornton's emphasis is on the culturally under-represented half of the dualities. In her earlier videotape, There Was an Unseen Cloud Moving, on the Victorian poet and writer Isabelle Eberhart, Thornton explores a similar strategy: Eberhart left Europe for Algiers, converted from Christianity to Islam, scorned women's clothes for men's, and dismissed Victorian mores for her own freer style. Thornton uses several actresses to suggest Eberhart and collages texts with fictional and documentary footage, including shots of man on the moon, and the Casbah from Pépé le Moko, suggesting both Eberhart's and Thornton's determined examination of the unchartered. Kathy Geritz