With camera in hand, Ari Marcopoulos walks among the denizens of what you might call the subcultural sublime-delirious hotdoggers, rapturous artists, bruised boarders, avant rockers, and the many nomads of adrenal bliss. Marcopoulos doesn't document the inhabitants of the ecstatic outlands so much as he infiltrates the energy enveloping them, snowboarders on maniacal drops, artists in the whirl of creation, musicians communing with the visceral hum. As a consequence, there's a celebrity factor to many of Marcopolous's works. Who else to pursue but those who excel to the extreme: rad riders like Craig Kelly and Terje Håkonsen, or that great prevaricator Jeff Koons; high-velocity skaters like Noah Sakamoto and Patrick Rizzo, or noise noodlers Thurston Moore and Kim Gordon. Marcopoulos has the markings of a musician himself-he's got a keen ear for the quiet between the notes. Tracking prodigious snowboarders in Transitions and Exits and Where the Wind Blows, the mood oscillates between the elation of rising powder and the down of waiting for weather. In Larry White, a street drummer pounds paint cans in search of the miraculous roll, knowing the solo must always recede into silence. In conjunction with a retrospective of the artist's photographs in the BAM galleries, we offer two evenings of films by Ari Marcopoulos, all stillness and passion, presented in a fiercely free style.