Learning how to see precedes what can be seen. For over three decades, Bill Viola has been exploring the apparatus of vision, not to perfect the picturesque, but to transform the seen into states of consciousness. What distinguishes Viola's work, both his single-channel videotapes (emphasized here) and his highly prized installations, is the melding of a metaphysical curiosity with a virtuosic regard for the technology of perception. Sublime landscapes are captured, then transmuted; time passes in mercurial register; acoustic artifacts intone from unexpected sources, all coalescing as a poetic summation, or at least inkling, of consciousness. Each evening in this three-part series-an encapsulation of a sweeping decades-long process-is centered around a seminal landscape work, accompanied by shorter pieces that adhere through sympathetic attraction. From the Tunisian desert mirages in Chott el-Djerid, through the Japan-bound Hatsu Yume and its aqueous luminosity, to the ghostly Southwestern 'scapes in The Passing, we witness the progressive revelation of seeing beyond the material world.