LIVING IN NEW YORK, I almost never drive, but every so often I rent a car for an out-of-town trip. Then I seem to drive ceaselessly. Afterward I have intense dreams, not of driving exactly, but of driving's incessant forward motion—of being propelled ever deeper into a world of things that come at me and stream past on either side.

Darren Almond has filmed this dream. Geisterbahn (Ghost train), 1999, at The Approach, is nine minutes of continuous movement, slow but inexorable, filled with unpredictable twists and turns. And it must be a dream because nothing in it looks real, though of course

DUTCH WAX-PRINTED COTTON FABRIC masquerades as authentic African textile both for Westerners and for Africans seeking to break with Western dress, despite the fabric's passage from Indonesia through Holland and the mills of Manchester to the markets of Africa, North America, and Europe. It has become a signature of Yinka Shonibare's work, which emerged at the end of the '80s as installations of small chunky “canvases,” frequently overpainted on the sides or faces with an acrylic impasto of biomorphic forms and installed in grids on a monochrome wall. Considering the pressures on black artists