Vanalyne Green in PersonEverything you know could be otherwise. At least, that's how it appears in the daring, self-revelatory and waggishly sexy works of Vanalyne Green. In the baseball epic A Spy in the House that Ruth Built (1989, 30 mins), Green intrudes on the "city of men," only to find that her interest in bats and balls has far-reaching implications. Using memorabilia, photographs, and original footage, she roots through the pop cultural meaning of the game looking for a way home. It's no balk when Green realizes that the diamond echoes a mons pubis and that the game itself is a sexual rite suspended in a calm, masculine zone. Saddle Sores (1999, 20 mins), her newest, is an anti-western about a comely cowboy, the proverbial roll-in-the-hay, and getting hog-tied with herpes. Refusing to be corralled by cliché, Green finds greener pastures: for her, sexually transmitted disease becomes an agent of history, its denial a prairie fire of provocative proportion. In the end our cowgirl's got both feet in the stirrups.As a faculty member at the Art Institute of Chicago, Green recently taught a course, "Body Language," meant to help students working with controversial material better address the intent of their undertakings. Gender-jumbled, beleathered, and erotically abrasive, these videoworks have nothing to hide: Clamp by Maia Cybelle Carpenter (9.50 mins); Chingari Chumma by Teja Shah and Anuj Vaidya (8:10 mins); Gas by Cyndi Birkhead (:52 sec); Melt by Cyndi Birkhead (3:50 mins); It's Not a Lie by Liz Miller (4:58 mins).Viewer Indiscretion Advised.-Steve Seid