Le Pétomane, the stage name of Joseph Pujol, was not an artiste, but a fartiste, a master of the musical anus. The rage of Parisian cabarets at the turn of the century, he broke wind as well as box office records, drawing an audience that gasped at his gaseous recitations. Igor Vamos's airy (and highly suspect) Le Pétomane (1998, 56 mins) establishes Pujol's uneasy place within art history as an early proponent of body-centered art. Was Pujol a modernist? A charlatan in a tux? Or just one of many artists to expose their inner depths for art? Shorts:Nothing is beyond the reach of the shopping channel, including the presidency. Election Collectibles (2000, 5 mins), Bryan Boyce's shrill appropriation, gives us Al Gore and Dubya hawking their wares with the best of them. In Eric Saks's pickled You Talk/I Buy (1990, 10 mins) a car salesman pulls off a reverse phone prank in which marketing hype ascends to the hallucinatory. Cold calls never ran so hot. Dara Greenwald's full-bodied Bouncing in the Corner, 36DDD (2000, 3 mins) does Bruce Nauman's seminal Bouncing in the Corner, Nos. 1 and 2, one better: it bares the body as well as the soul. Plus a comic short by Teddy Dibble.-Steve Seid