When awareness of the AIDS epidemic caught the public'seye, the major media immediately advanced its misconceptions of the problem. Half-truths, fear andprejudice were more marketable commodities for the news industry. It quickly became apparent that analternative to mainstream images of AIDS had to be offered as a corrective and as a way of movingforward with solutions. Artists joined the media melee to create a profusion of videoworks addressing theissues of AIDS. The form and intent of these works is as wildly diverse as the artists themselves, withtapes ranging from angry rebuttals of popularized myth to stylized narratives adding fresh images to thefight against AIDS. What is also of note is the ensuing acceptance of the notion of the artist as politicalactivist. This evening's program highlights AIDS videoworks that span the aesthetic and pragmatic boundsof the medium. In trademark style, John Greyson's The Pink Pimpernel collides two scandals, the untoldstory of the Scarlet Pimpernel and shenanigans in the pharmaceutical industry, for an outrageous andpolitically astute debacle. Diana's Hair Ego, by Ellen Spiro, follows a hair stylist in South Carolina who doesAIDS education out of her salon and in Tupperware-style parties: getting down to the roots, literally andfiguratively. Tom Kalin's They are lost to vision altogether is a defiant, lyrical work that uses shards ofAmerican culture-snippets of film footage-to reinscribe eroticism as an ambivalent activity. The HelmsAmendment and its refusal to fund AIDS information for gay men and lesbians inspired Kalin's tape. Testingthe Limits, Part Two, by the Testing the Limits Collective, focuses on organized political action with acandid anger meant to instill outrage. Steve Seid