A jocular look at historical scholarship, From the Archives of Modern Art gets equal guffaws for its parody of film genres. Antin's conceit is that Eleanora Antinova, former ballerina in the Ballet Russe, had returned to America to make a number of-until now lost-early twenties and thirties films. Fragments of these two-reelers are strung together with snippets of information about their supposed origin. Expressionist drama, Isadora Duncan dance numbers and cheap erotica are lampooned with an intentionally clumsy eye. Antinova's "documented" career infiltrates history through its primary vehicle, the moving image. In One or the Other, Marcel Odenbach sets up a metaphorical tension between two worlds. Using a pendulum, a chandelier and other metronomic devices, the tape swings through opposing ideas: classical vs. primitive, repression vs. the unfettered. This is seen in the formal architecture of Europe and the abandoned street life of South America. Subtly, the oppositions change place. Odenbach's work suggests that culture is in a continual cycle of collapse and renewal. Doug Rosenberg's L'Opera is a triptych in which an emblematic protagonist searches for meaning among the ruins of Reason, Authority and Romance. In the first tableau, a natural setting seems the resilient backdrop for a clash between Science and Art. Then, we are presented with the protagonist's futile grasping after ideals of National Identity. Finally, our hero pursues Love and finds himself alienated by the false elevation of his Romantic Object. Using prim composition, tasteful posterization and a varied musical score, Rosenberg's videowork critiques contemporary value with operatic gestures. Steve Seid