Benning illustrates a lascivious encounter with a "bad girl," through the staging of gender and the interaction of Hollywood clichés: posing for the camera as the rebel, the platinum blonde, the gangster, the fifties crooner, and the "vamp" with heavy eyes. Poses with a cigarette, slow romantic dances, and fast-action heavy metal street shots drive the viewer through the story of the love affair. Benning's video goes beyond romantic fantasy, describing other facets of physical attraction including fear, violence, lust, guilt, and total excitement. As she herself says, "It wasn't love, but it was something..." It was an opportunity to feel glamorous, sexy, and famous, all at the same time.

In I hung back, held fire, danced and lied Kalin confronts loss, intimacy and estrangement. This visually arresting piece is constructed of Super-8 fragments that document familiar and foreign spaces, lovers and strangers. Rapidly intercut with these images are brief glimpses of names of individuals who have died from AIDS — some famous, others not so well known — that further notions of anonymity and immortality. Kalin's imagery serves as an 'imprint' of the living world, preserving for an unknown viewer personal experiences that have already fled.

From a series of super low-tech video diaries recorded with the famous and now extinct "fisher price pixel vision" camera. Sadie Benning introduces us to her personal world of discoveries of identities and genres.

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."

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