Jennifer Steinkamp’s latest exhibition included three digital videos (all 2002). Mar Vista, a collaboration with composers Holly Lovecat and Jimmy Johnson, who provide a likable, techno-y score, is a small projected digital animation that takes a romantic seascape as its promising point of departure. But the work only occasionally manages to separate itself from the sorts of virtual experiences of space becoming increasingly common in mainstream media; at best, the work points to future possibilities as Steinkamp pushes into territory marked by synthesized representational imagery. Meanwhile,

The announcement card to Jason Meadows’s show, “Animal Eyes” provided a starting point for considering his recent work. If the show’s title is read phonetically (to become animalize), Meadows could be seen to animalize his earlier DIY geometric formalism, in which part of the visual excitement pivoted on a “pop-up” effect. Pieces appeared to be flat when seen from one vantage and “popped up” when seen from another to become fully volumetric, an aspect most easily observed in his bicycle tire and aluminum scaffold pieces, where three and four tires lined up to be perceived as a “single” tire. In