In two recent video works entitled China (all works 1995) and A Confusion of Prints (work for two video monitors), Diana Thater examined the opposition between the wild and the domestic, the natural and the man-made. Using unedited footage of two wolves during training sessions (the animals were bred in L.A. and have appeared in the films Cry Wilderness, White Fang, Quest for Fire, and two Playboy videos), Thater at once evokes and demystifies the conventions of the documentary by emphasizing the process of filming itself. In China, the videotapes, recorded by six cameras that had been placed