Work by six video artists. The centerpiece is “Real Videos,” a half-hour series by Bobby Abate, whose low-resolution imagery is rendered with an almost uncomfortably erotic fascination. Come Softly (1999) begins with colorful animations describing the gruesome TWA 800 crash, but the voice-overs and images turn unaccountably sexual (a man removes his shirt as one speaker reports “no survivors”—a reference to AIDS?). If I Had a Hammer (2001) presents a Web site that offers “straight teen boys coerced into gay sex,” its pixelated images of men at once mechanical and sensual. The distance between technology and reality also informs Jacqueline Goss?s The 100th Undone (2001): made with a black-and-white tube camera and an Amiga computer, it critiques both cloning and “boys who obsess over the aesthetics binary code”; the title refers to the “undo” function in computer programs that lets us reverse our mistakes, and to a dream in which the filmmaker discovered that “undo” didn’t work in real life. On the same program: work by Steve Hall and Cathee Wilkins, Robert Rhyne, and Patty Chang. 87 min.