Production stills are the tourist art of the video and film world—too often overpriced souvenirs made for little other reason than to appease acquisitive yearnings that moving images are less apt to satisfy. Maria Marshall has approached the still image differently; the results, in her exhibition “In two hundred days I will be eleven,” might be a lesson in how to generate a photographic appendix to or continuation of a video project with integrity intact.

The video in question is a work from 2004, Lollipop (In two hundred days I will be eleven), which has already been widely exhibited. It

Nature almost never looks this good, and painting rarely does either. Clare Woods’s three enormous landscape paintings—Rock of the Night (the largest, measuring thirty-six feet in length), Gwen’s Bobby, and The Grump, all 2006—spread across three walls of Chisenhale’s cavernous space as if poured in great waves. Glossy and intricately painted, this immense trio of works (collectively titled “Deaf Man’s House”) overflows with sinuous natural forms: masses of leaves, roots, grasses, branches, mosses, puddles. CinemaScope in scale and format, “Deaf Man’s House” adheres unmistakably to

“In the beginning”: the first words of the Bible; THE END: the first words of Mark Wallinger’s new film. Almost twelve minutes long, The End, 2006, is a sequence of names scrolling slowly up the center of the screen, like the credits concluding a movie, listing every person in the Old Testament (plus a few verses of the New), in order of appearance. GOD. ADAM. EVE. CAIN, it starts, finally ending—hundreds of unfamiliar, mostly male, names later—with JOSEPH. MARY. JESUS. This last name rolls up and offscreen at the end, ascending into the ceiling, as it were. Nearly all of the names