Traditionally the use of text with image has been a relationship whereby the language directs our reading of the image, for example the use of captions under photographs, ad copy, even subtitles; meaning is prescribed. The works in this series have a different character. They use text and image to open up possible readings, whether, as in last week's program, through making connections between private and public acts, and using language as a means of both critique and creation; or in tonight's program of works that seek the potential ambiguity of language and images, the poetry of slippery usage and twisted meanings. Some, like Chick Strand's Fever Dream (1979, 7 mins), Su Friedrich's Gently Down the Stream (1981, 14.5 mins, Silent) and Luis Buñuel and Salvador Dali's Un Chien andalou (France, 1928, 16 mins) make direct reference to dreams and their "work" of reformulating the repressed, the scandalous, the forgotten. In Elise Hurwitz's I raise my arm (USA, 1993, 10 mins, Silent) and John Lindell's Put Your Lips Around Yes (USA, 1991, 4 mins, video), words multiply, as if precision of language in relationship to the body is either an impossibility or possible only through the simultaneous presence of all permutations of a word. Nina Danino's Now I Am Yours (RESCHEDULED to be part of the FEBRUARY 25th show). (UK, 1993, 31 mins, Color/B&W) similarly explores ecstatic language through a meditation on Bernini's sculpture, The Ecstasy of St. Teresa.-Kathy Geritz