In Karam Natour’s twenty-one-minute two-channel video Nothing Personal, 2017, the artist calls emergency services and then waits for them to come feature in his movie. At first, it seems like the kind of thing a bored teenager might cook up. And there’s the rub: Sometimes it’s only through idiocy that you pose the right questions.

The piece begins with a black screen. We hear a ringtone and Natour’s plaintive voice. We see him lying in a white room on a bed with vermilion sheets, wearing only a T-shirt and underpants. He can’t move, he says. Having established his address, in Tel Aviv, the operator