Introduced by Maria Troy Whether veiled or unvarnished, autobiography provesfertile ground for many of Chicago's most revealing artists. Faber's The ManWithin Me (1996, 3 mins, premiere) tries to penetrate the artist's body tounearth the "twitch" inside, "an untapped market" of shiftingdesire. Green's ironic Home on the Range (1996, 15 mins, premiere) is a lovelornreminiscence about the wilds of Wyoming where a cowboy's soiled embrace breachesthe tidy sheen of romantic longing. In Green's painful confession, bodilyeruptions mark the consequences of fulfillment. Childhood trauma initiatesStratton's Kiss the Boys and Make Them Die (1994, 30 mins), a querulous work thatpits lesbian love against sexual formation within the family. Never quitetrustworthy memories recount a past where love seeks a host, now the mother, nowthe father, and then their negation. Suberin's cross-texting Swallow (1995, 28mins, premiere) portrays the artist as a young anorexic, bombarded by thecontradictory messages of a malign culture. Personality disorders find theirformal equivalents in a work that clouds the borders of the bio-pic, by shiftingvoices, legitimizing accounts, and skillful layerings of social history. Refusingto be marginalized, Udongo discards her "good girl" status in Edges(1993, 4:45 mins), a celebration of self-possession.-Steve Seid