Comprising eight films from Stan VanDerBeek’s “Poemfield” series, 1965–71, including two versions of Poemfield No. 1, 1967, and more than two dozen of the artist’s works on paper, this exhibition provided a welcome point of access to one of the late twentieth century’s major innovators of computer-based visual art during a key period of his production. Appropriately, the “Poemfield”films were accorded pride of place, projected side by side in the Box’s large main gallery space.

Each of the films hinges on a poem written by VanDerBeek. Unfolding as associative wordplay and emphasizing the words’

For three days in early November, on a hillside on the east side of Los Angeles, Dwyer Kilcollin erected a freestanding metal fence on which she mounted “algorithmically derived image-shapes” she had cast by hand from computer-generated 3-D models. Boundary, screen, and makeshift gallery wall, the armature further served as a viewfinder: Through the chain-link grid, the tree- and house-flecked expanses of the surrounding rises became conflated with their pictures. These “image-shapes” (as the show’s press release described them)—small, rectangular reliefs—translate and, in their