Having nearly completed his hundred-part oeuvre “The Hundred Videos,” 1989–19, Steve Reinke recently exhibited videos 55 through 67. In a city so dense with smart psychoanalytic cinema, Reinke wields the language of the unconscious as lightly as a portable video camera. He plays with the thinness of images and the inadequacy of words, the gap between language and desire. Ever inventive and curious, he uses video like a sketch pad. Most of the works are between 30 seconds and 4 minutes long and very simply constructed: with minimal camera movement or a little archival material, some text, and a