Part Two of this four-part series of preserved video art features a further installment of Vito Acconci's The Red Tapes, entitled Local Color. Here, the geography of philosophical habitation gains clarity as a landscape peopled by opposing ideas. Upon entering a metaphorical tomb, Acconci utters in his gravelly voice, "If we couldn't make a discovery, we'd become one." And so this place, perhaps a new America, is entrenched in a discourse of gesture, character and the isolation of revelatory inquiry. With Video Songs for Navajo Sky, Shigeko Kubota laid the foundation for her personalization of the medium, as seen in her on-going diaristic tapes. Ethnographic footage of Navajo life is transfigured by her continual, first-person commentary. This foregrounding of the observer is stressed further by the colorization and layering of select sequences. In Internal Tantrum, Charlemagne Palestine becomes the epicenter for an emotional earthquake. Facing the camera, he vibrates with a dirge-like sound coming from within. Palestine's use of the medium allows for a micro- scopic reading of this internal state while acknowledging the video frame's cage-like quality. Einstine is a classic example of early feedback/colorizer work, first screened at the celebrated "TV As a Creative Medium" exhibition in 1969. Eric Siegel created colorful oscillating patterns, emanating from an image of Einstein, that suggest the battle of primal forces within modern science. Steve Seid