Sean Snyder’s film Exhibition, 2008, appropriates footage from the Soviet propaganda film Noble Impulses of the Soul (1965). We see Ukrainian agricultural workers standing before reproductions of paintings from Dresden’s Staatsgalerie in the 1960s; a group taking part in a seminar discussing art; the director of a provincial museum declaring that creating art institutions is “not less significant than the construction of a factory.” Snyder has, however, eliminated the original film’s didactic elucidations and edited the historical material, and his film thereby manages to offer a startlingly