“Zero to Infinity: Arte Povera 1962–1972,” an overdue museum survey devoted to the Italian art phenomenon of the 1960s, attains its full contemporary significance via its transcontinental bounce from Minneapolis to London. Conceived by Richard Flood at the Walker Art Center, the exhibition was cocurated by Francis Morris of Tate Modern, where it first appeared. The great brick pile of the Bankside power station makes an entirely appropriate setting for the show’s debut, as it underscores the degree to which we have come to live in an arte povera world.

The origins of that world extend back to

DIRECTOR'S CUT (Fool for Love), the main work in this show (all works 2001), was a color film transferred to video and projected on two screens. It was accompanied by Staged, an installation of black-and-white photographs taken from the film, and a neon text piece, Prop. The film shows excerpts from a rehearsal of Sam Shepard's play Fool for Love. It sets up a comparison between the languages of cinema and theater, a bit like Robert Altman did with Shepard's text in the well-known film acted by the playwright and Kim Basinger. Islam, however, is interested not in the narrative development of

PEOPLE MOVE AROUND BUILDINGS, to state the obvious; but buildings also move around people—sometimes very noticeably, as the organizers of Milch were recently reminded. Vibrations from a nearby railway station kept disrupting the careful calibration of Jonas Dahlberg's video installation Untitled (Vertical Sliding/Horizontal Sliding), 2001, shaking equipment and causing slivers of projected light to trespass into places they shouldn't have—a curator's nightmare. but fortuitously underlining the themes of revelation and concealment set up in this painstakingly prepared and thoughtful