A few short years ago, there appeared to be substantial common ground shared by certain artists of different nationalities from the former Eastern Bloc. At least from a distance, this group, who came of age in the post-Communist 1990s, seemed to similarly deploy a mixture of film and other media to worry over the broken monuments and movements of the not-so-distant past. The Albanians Anri Sala and Adrian Paci, the Romanian Mircea Cantor, and the Lithuanian Deimantas Narkevičius spring to mind as representative of that moment. This shared ground has receded from view somewhat, perhaps inevitably,