The conventions are those of a horror movie. Noises are a little too loud, a little too clear, like the sound of footsteps echoing behind a threatened heroine, footsteps that may be those of the murderer—or are they just her own? Doors suddenly close, apparently of their own volition. A poltergeist? Or, perhaps more frightening yet, the invisible yet still menacing specter of the national security state?

The melodramatic note is mostly mine; Gamma, 1999, the new video-projection work by British artists Jane and Louise Wilson, is in part notable for the formal discipline that keeps its creepy