1976, 20:59 min, b&w and color, sound
Ant Farm: Chip Lord, Doug Michels, Curtis Schreier, Douglas Hurr. Role-playing and political performance were integral to Ant Farm's art-making strategies. In 1976 the group travelled to Australia as ironic "artists-in-residence," counter-cultural ambassadors. "Off-Air" Australia is a fragmented document of that trip, culled almost entirely from off-air footage of their television appearances, Australia media coverage of Ant Farm's events, and appropriated TV commercials

1982, 14:45 min, color, sound
Inverting the form, style and time frame of commercial television advertising, Logue has produced a unique series of dynamic video portraits of avant-garde artists, writers, musicians and performers. In 30 Second Spots: New York, which Logue terms "commercials for artists," each of the succinct vignettes conveys the artistic essence of her subject with clarity, wit, and an elegant economy of means. John Cage, Laurie Anderson, Philip Glass, Meredith Monk, Spalding Gray and Nam June Paik are among the artists who are captured here with concise drama.

1981, 46:02 min, color, sound
As an early pioneer of the music video, Julia Heyward presents a long-form "video album" with 360 that was released just a year prior to the birth of MTV. Heyward's ten songs (recorded with Jody Harris of The Raybeats and The Contortions and Don Christensen of The Raybeats and Bush Tetras) are interspersed with her familiar a cappella-like monologues.

1988, 12:46 min, color, sound
Catscan is a group performance within a chaotic density of projected images and office furniture, motivated by Egyptian funerary rituals of mourning, grief and spirits of the dead. It sustains aspects of Schneemann's previous works built with dream instruction, positing the interchange of intimacy and physicality, the erotic and the obscene, the incubation of dream enactment. Catscan centers on the death of a beloved cat as a means to ritualize more universal mourning and to bring forward ghosts of the past. As a ritual consecration, Schneemann, blindfolded, dances out of 20 yards of red fabric wound around her body.

In Centers, Acconci faces the camera, his head and arm in close-up as he points straight ahead at his own image on the video monitor, attempting to keep his finger focused on the exact center of the screen. In pointing at the image of himself, Acconci is also pointing directly at the viewer — an action that is paradigmatic of the psychological dynamic of Acconci's work in video. As the tape proceeds in real time, the only changes in the performance action are slight adjustments in the position of his finger as his endurance falters. Acconci has written, "The result (the TV image) turns the activity around: a pointing away from myself, at an outside viewer — I end up widening my focus onto passing viewers (I'm looking straight out by looking straight in)."

This restored collection of rare early collaborative works by Nam June Paik and Jud Yalkut is historically significant as well as remarkably prescient. Recorded between 1965 and 1971, these "video-films" reveal insights into the evolution of Paik's work in video, performance and installation, and are among the earliest explorations of the interfacing of film and video. They are marked by a playful, irreverent sense of improvisation and experimentation. Richly inventive and ironic, if at times technically crude, these experiments form a link between Paik's performance and sculptural works of the 1950s and early 1960s and the celebrated videotapes and installations of recent years.