In 1988, the French artist Sophie Calle, whose work has long plumbed the vicissitudes of power, purportedly received a promising overture. “An American bank invited me to do a project,” she states. “Their ATMs were equipped with video cameras that filmed clients as they went unsuspectingly about their business.” The surveillance tapes show miens of worry, boredom, and calm as the subjects perform the mundane task of withdrawing or depositing bills. For the past sixteen years, Calle has grappled with this footage in various contexts, trying to give shape to the prodigious quantity of the material