Keith Sanborn's recent digital videos are witty, gorgeous, and elegantly conceived. Whether inspired by Borges or responding to Catholicism, they are consumed by questions of representation, and are particularly concerned with reading cultural images. The Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn (1936, Jayne Austen) (1996, 4 mins, Color/B&W) questions the possibility of ownership in the age of digital reproduction. Imaginary Laughter (1995, 6 mins, Color/B&W) is a sparely but deftly composed found-footage essay on projected laughter. Three pieces comprise the series "Theory of religion, theory of ecstasy," a title taken from Bataille: Mirror (1999, 6 mins, Color/B&W), a beautiful meditation on Joan of Arc and another filmic believers; The Zapruder footage: an investigation of consensual hallucination (1999, 20 mins, Color) in which we really see, and imagine, the legendary 8mm footage of JFK's assassination; and For the Birds (2000, 8 mins, Color), inspired by the eleventh-century Sufi mystical text The Conference of the Birds and, as in the previous two videos, exploring questions of sight and insight. For Sanborn's most recent film-clip excavation, Semi-Private sub-Hegelian Panty Fantasy (with sound) (2001, 4 mins, Color/B&W), the title says it all! Plus Psychoanalysis part one and other hallucinatory loops and incremental investigations.-Kathy Geritz