THE SPACE BETWEEN TWO, at Link’s Hall, through January 14. One subgenre of performance art seems to descend directly from museum audio tours, enforcing how long an audience looks at an image. That approach may be justifiable, but it’s not a substitute for images that reward scrutiny.

The “Space Between Two” program, curated by Local Infinities (visual artist Charlie Levin and theater artist Meghan Strell), intersperses selections from three works in snippets of 1, 3, 6, and 20 minutes. If that sounds overdetermined, it is. Local Infinities’ Vanishing Point (the one piece appearing both weekends) is moderately interesting for shorter intervals but nauseating for the long one, as a slide projector blinks on and off Strell and Theresa Sofianos changing poses. Director Levin takes his time giving the poses content, and it isn’t worth waiting for: mother and daughter mirror each other and occasionally, with difficulty, embrace.

Palomar’s Memory Palace: Chinese Motorcycle Exile Life–a clever tale of efforts to enshrine memory–might have been amusing had we been permitted to see it uninterrupted. But here too the payoff isn’t worth the time. Then again, that time has been unreasonably extended by the bits from Vanishing Point and YounGodds’ unspeakable Playing in the Dark, in which actors wearing masks cross the stage in slow motion accompanied by fuzzy video and scratchy sound, which unfortunately fails to obscure the narration: “You have to go through darkness to get to the other side.” We certainly did.

–Kelly Kleiman