Round three in this four-part series of preserved video art offers the finalsection of Vito Acconci's The Red Tapes, entitled Time Lag. Where Parts One and Two employed flat space,Acconci now deepens the movement with a theatrical deployment. Actors enter the stage, rehearsing a playof wordy clich? about the U.S. But this rehearsal for America is also a litany, a sadness, a summing-up.Spinning his populous land out of the stuff of memory, art and language, Acconci says, "We're ready. Comeon!": a call to acton as urgent now as it was at its conception. With Hark! Hork!, Frank Gillette continues hismeditation on the processes of nature. Rushing waters in a snowy 'scape plummet with uncanny ferocity.This sequence is then juxtaposed with delicate, contained still lifes, natural objects wrenched from their"normal" context. Gillette's rhythmic editing and rigorous composition make the eye harken. R-G-Baddresses basic color components within the video signal. Peter Campus manipulates the red, green and bluein various additive and subtractive combinations, first using gels, then mechanics, and finally electronics.This work casts doubt on the totality of the image and its supposed indivisible integrity. John Baldesarri's IAm Making Art is a sardonic attack on body art that co-opts itself. Discrete gestures within an awkwardchoreography are accompanied by the words "I am making art." Each variation in physical posturing iscounterpointed by a minute emphasis of letter or accent, i.e. I am making art, I am making art. But soonBaldessari's chanting becomes hypnotic, a convincing repetition. And before you know it, he is making art.Steve Seid