With wit and savvy, Kalin combines text, graphics and flowers with musical and political quotation to comment on the disjuncture between a conservative, medicalized discourse that describes homosexuality as both "unnatural" and "dangerous," and the possibilities of liberation involved in embracing the criminality of the "unnatural." A quote from Angela Carter's Sadeian Woman ("Criminality may present itself as a kind of saintly self-mastery, an absolute rejection of hypocrisy"), disco music, and hothouse flowers serve as counterpoints to fundamentalist agit-prop about gay sexuality.

"Dear Sis, I am sitting on the subway and all of a sudden I have this urge to write to you . . ." Here begins an apology letter written from one sister to another. Starting with the issue of sibling rivalry, the video is an examination of the connection and distinction between one person to the next  -- taking us further to the greater subject of the humanity. The letter is an actual one I have written to my sister which was never sent. Images is filmed on subway train in New York City.

"Rubbers prevent the spread of AIDS. Rubbers do not prevent the spread of AIDS."

This piece continues Kalin's poetic and interpretative use of music married to vision, drawing on a range of images and textures to create a romantic reverie of a relationship between two men. With music by Annie Lennox (composition of Cole Porter) and on a quote from Virginia Woolf. Kalin's short video works function both as visual poems and as alternative music videos. With their astute conjunctions of image, music and text, these tapes respond to issues of sexuality and human interaction in the 1990s, more than a decade into the AIDS crisis. In finally destroy us, Kalin uses found film footage, home movies, and haunting pop music (Annie Lenox singing Cole Porter) to poignantly recall moments of love, shared and lost. The title is taken from Virginia Woolf: "But these meetings, these partings, finally destroy us."