For Henry Hills, the smallest film unit isn't the shot, but the frame. Initially inspired by experimental filmmakers such as Paul Sharits and Robert Breer, Hills also worked frame-by-frame, but emphasizing the movement within the frame. Hills splices together film strips-often of only few frames in length-into rapid-paced, intricate rhythms. When projected at 24 frames-per-second they create an unprecedented eye workout, in which information is compressed within and between frames, and to blink is to miss a major sequence. Hills' early works include beautifully photographed portraits of people and places where he has lived. His most recent films star New York City and a variety of artists, filmmakers, poets and dancers, in images which Hills rapidly edits together in a breathtaking affirmation of the act of collaboration. In Money he interrogates the economic situation of avant-garde artists, and in SSS he creates a dance from fragmented dancers' movements. Thus constructed, or composed, out of differences, they are not the work of a disinterested observer or collector of information, but are active, inquiring films, in which the accumulation of frames creates a dialog of views and viewpoints. --Kathy Geritz