In Theme Song (1973, 33:15 mins, B&W), Vito Acconci, ever the provocateur, sets out to seduce the viewer, using direct address as a perverse tool of persuasion, a “come on,” as he describes it. Pushed up against the screen of the monitor, his visage an almost pathetic sight, his plaintive words lulling in their soft rhythms, Acconci toys with the spectator. He begins his mashy monologue, playing “theme songs” by the Doors, Bob Dylan, Van Morrison, and others. The scene is set, the strains of pop music, the coy confessions, but the TV screen marks the impenetrable wall between desire and delivery. In I Am Crazy and You're Not Wrong (1997, 11 mins, B&W), Anne McGuire offers up a veiled Judy Garland circa the early 1960s. We see the declining mock-star in agonized performance on the stage of final surrender. Acconci's Shoot (1974, 10:18 mins, Color) is an aggressive and nasty action challenging cultural stereotypes. He imitates the sounds of war, interrupting his vocal barrage only to declare, “Yeah, I'm an American.” Pushing her brothers front and center, Anne Walsh continues the barrage in Two Men Making Gun Sounds (1996, 12:24 mins, Color), only now the strain of simulation itself stresses the burden of male acculturation.