GARY HILL

Primarily Speaking also exists as an installation dated 1981-83 which can be shown in either a two-monitor or eight-monitor format.

An example of this work was exhibited for the first time as a work-in-progress as part of “Gary Hill: Equal Time,” Long Beach Museum of Art, Long Beach, California, March 28 – May 2, 1982.

“The Sydney Biennale,” Sydney, Australia, April 7 – May 23, 1982.

Solo screening. Boston Film/Video Foundation, Boston, Massachusetts, March 24, 1983.

“American Video: Twenty New Works,” Museum of Modern Art, New York, New York, May 1 – October 30, 1983.  Travelled to the Museum of Modern Art, Hyogo, Japan, May 3 – 8, 1983 and other venues in Japan, the United States and Europe.

“The Second Link: Viewpoints on Video in the Eighties,” Walter Philips Gallery, Banff, Alberta, Canada, July 8 – July 21, 1983. Travelled to: Museum of Modern Art, New York, New York, August 18 – September 27, 1983; Stedelijk Museum, Amsterdam, The Netherlands, September 9 – October 16, 1983; A Space, Toronto, Canada, October 1 – 29, 1983; Long Beach Museum of Art, Long Beach, California, November 20, 1983 – January 15, 1984; Institute of Contemporary Arts, London, England, December 16, 1983 – January 15, 1984.

XXXI Festival Internacional de Cine de San Sebastian, San Sebastian, Spain, September 15 – 24, 1983.

San Francisco International Video Festival, San Francisco, California, October 6 – 15, 1983.

19^th Chicago International Film Festival, Chicago, Illinois, November 4 – 18, 1983.

Solo screening. London Video Arts, London, England, December 8, 1983.

Solo screening. International Cultural Center, Antwerp, Belgium, December 9, 1983.

Solo exhibition. Center for Media Art, The American Center, Paris, France, December 13 – 15, 1983.

“Videographia,” Escoia I Centre d’Activtats Video, Barcelona, Spain, February 20 – 25, 1984.

“Gary Hill Selected Videography,” JISC Plaza Video and International Cultural Community Services, Tokyo, Japan, March 16, 1984.

“So There, Orwell 1984,” The Louisiana World Exhibition, New Orleans, Louisiana, May 12 – November 11, 1984.

1^st Festival Nacional de Video, Círculo de Bellas Artes, Madrid, Spain, June 11 – 16, 1984.

“WNET/Thirteen TV Lab: A Survey,” Museum of Modern Art, New York, New York, November 23, 1984 – January 1, 1985.

Solo exhibition. Video Gallery Scan, Tokyo, Japan, March 15 – 17, 1985.

“The Artist and the Computer. Personal Visions in a New Age,” Aaron Davis Hall, The Leonard Davis Center for the Arts, City College of New York, New York, New York, September 20 – 22, 1985.

Solo screening. 911 Arts Center, Seattle, Washington, November 9, 1985.

“Video Transformations,” organized by Independent Curators Incorporated, New York, New York. Travelled in the United States from January 20, 1986 – April 19, 1987.

“Video d’artistes: Robert Cahen, Gary Hill, Jacques Louis Nyst, Dan Reeves,” Salle Patino, Geneva, Switzerland, January 31 and February 1, 1986.

“Collections Vidéo: Acquisitions Depuis 1977,” Musée national d’art moderne, Centre Georges Pompidou, Paris, France, March 5 – May 11, 1986.

“Resolution: A Critique of Video Art,” Los Angeles Contemporary Exhibitions (LACE), Los Angeles, California, April 18 – May 10, 1986.

Solo screening. Port Washington Public Library, Port Washington, New York, May 22, 1986.

Solo exhibition. Whitney Museum of American Art, New York, New York, May 24 – June 15, 1986.

International Festival of Video Art, Saw Gallery, Ottawa, Ontario, Canada. Travelled to: Centre for Art Tapes, Halifax, Nova Scotia, Canada, October 6 – 13, 1986; Forest City Gallery, London, Ontario, Canada, October 8 – 17, 1986; EM Media, Calgary, Alberta, Canada, October 15 – 26, 1986; A Space, Toronto, Ontario, Canada, October 7 – 16, 1986; Video Pool, Winnipeg, Manitoba, Canada, October 14 – 22, 1986; Monitor North, Thunder Bay, Ontario, Canada, October 20 – 30, 1986; PRIM Video, Montreal, Quebec, Canada, November 5 – 15, 1986.

“Contemporary Diptychs: Divided Visions,” Whitney Museum of American Art, Fairfield County, Stamford, Connecticut, March 20 – May 27, 1987.

“Documenta VIII,” Museum Fridericianum, Kassel, Germany, June 12 – September 20, 1987.

Japan 87 – The First Video Television Festival: “Private Visions and Media Crossover,” Spiral, Tokyo, Japan, July 29 – August 11, 1987.

2^e Semaine Internationale de Vidéo, Saint-Gervais Genève, Geneva, Switzerland, November 16 – 21, 1987.

Solo screening. Western Front, Vancouver, British Columbia, Canada, April 16, 1988.

“Art Video Americain.  Les Annees quatre-vingt,” Le centre de recherche, d’echange et de diffusion pour l‘art contemporain (CREDAC), Paris, France, May 18, 1988.

“AS TOLD TO: structures for conversation,” Walter Phillips Gallery, Banff Centre, Banff, Alberta, Canada, July 28 – August 28, 1988.

Solo exhibition. Musée d’art moderne, Villeneuve d’Ascq, France, January 19 – February 19, 1989.

Vidéoformes 89: Festival de la Création Vidéo, Clermont-Ferrand, France, April 20 – 29, 1989.

39 Berliner Festwochen 1989; “25 Jahre Video-Skulptur,” Neuer Berliner Kunstverein, Berlin, Germany, August 27 – September 24, 1989.

Solo exhibition. “OTHERWORDSANDIMAGES,” Video Galleriet, Huset, Denmark and Ny Carlsberg Glyptotek Museum, Copenhagen, Denmark, April 20 – May 13, 1990.

“Passages de l’image,” Musée national d’art moderne, Centre Georges Pompidou, Paris, France, September 18 – November 19, 1990. Travelled to: Centre Cultural de la Fundació, Caixa de Pensions, Barcelona, Spain, February 11 - March 31, 1991; The Power Plant, Toronto, Ontario, Canada, May 10 – June 16, 1991; Wexner Center for the Arts, Columbus, Ohio, July 12 – October 27, 199; San Francisco Museum of Modern Art, San Francisco, California, February 6 – April 12, 1992.

Solo exhibition. Moderna Museet, Stockholm, Sweden, November 26 – December 16, 1990. Travelled to: Museum of Contemporary Art, Helsinki, Finland, July 24 – 27, 1991.

“Selections from the Circulating Library,” Museum of Modern Art, New York, New York, January 17 – March 5, 1991.

"Impakt: Festival voor Experimentele Kunst," Utrecht, Holland, May 23 – 26, 1991.

Japan 92 Video and Television Festival: “Prospectus for a TV Art Channel,” Spiral, Tokyo, Japan, February 1 – 11, 1992.

“Passageworks,” Rooseum, Malmö, Sweden, April 27 – July 25, 1993.

“Gary Hill: In Light of the Other,” Museum of Modern Art, Oxford, England, November 7, 1993 – January 9, 1994; The Tate Gallery, Liverpool, England, February 25 – May 2, 1994.

ForumBHZvideo, Festival Internacional de Video, Belo Horizonte, Brazil, November 10 – 15, 1993.

“Gary Hill: Sites Recited,” Long Beach Museum of Art, Long Beach, California, December 3, 1993 – February 20, 1994.

“Gary Hill: Selected Videotapes 1978 – 1990,” Art Gallery of Ontario, Toronto, Ontario, Canada, June 7 – August 28, 1994.

“Gary Hill,” Museum of Contemporary Art, Los Angeles, California, December 19, 1994 – March 12, 1995.

“Gary Hill,” (travelling exhibition organized by Riksutställningar, Stockholm, Sweden) Moderna Museet, Spårvagnshallarna, Stockholm, Sweden, February 4 – April 17, 1995; Museet for samtidskunst, Oslo, Norway, April 26 - May 21, 1995; Helsingin Taidehalli, Helsinki, Finland, June 29 - July 30, 1995; Bildmuseet, Umeå, Sweden, September 3 - October 15, 1995, Jönköpings läns museum, Jönköping, Sweden, October 22 - November 15, 1995; Göteborgs Konstmuseum, Göteborg, Sweden, November 15, 1995 - January 14, 1996.

Solo exhibition. Dia Center for the Arts, New York, New York, May 11 – June 25, 1995.

Sedicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova, Padua, Italy, October 29, 1995 – January 28, 1996.

“Gary Hill:  O lugar do outro/where the other takes place,” Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, July 1 – 6, 1997 (not the full run of the exhibition); Museu de Arte Moderna de São Paulo, São Paulo, Brazil, October 3 – November 2, 1997.

“Gary Hill: Rétrospective de ses premières oeuvres mono-bandes,” Cinéma Lux, Caen, Basse-Normandie, France, December 11, 1997.

“Visual Utterance: The Works of Gary Hill,” Pacific Film Archive, University of California, Berkeley, California, February 11, 18, 1998.

Solo exhibition. Center for Contemporary Images, Saint-Gervais Genève, Geneva, Switzerland, September 9, 10, 1998.

Aarhus Kunstmuseum, Aarhus, Denmark, January 17 – April 5, 1999.

“Gary Hill: Video Works,” NTT InterCommunication Center, Tokyo, Japan, February 16 – March 31, 1999.

“The Cool World:  Film & Video in America 1950 – 2000, Part 2:  The Unfixed Image, 1970 - 2000,” Whitney Museum of American Art, New York, New York, January 30, 2000.

Solo exhibition.  Centro Cultural Recoleta, Buenos Aires, Argentina, May 17 – June 4, 2000 (May 25, 2000 screening).

Solo exhibition. Museo Caraffa, Córdoba, Argentina, July 7 – 30, 2000 (July 15, 2000 screening).

“Hill(scape),” Extra Microwave Media Art Festival (organized by Videotage), Hong Kong Space Museum Lecture Hall, Hong Kong, January 14 – 31, 2001 (January 20 screening).

“l’écriture vidéophage – les bandes vidéo de Gary Hill,” La Compagnie, Marseille, France, May 1 – 31, 2001 (May 15 and 17 screenings).

“Gary Hill:  Selected Works,”  Kunstmuseum Wolfsburg, Wolfsburg, Germany, November 10, 2001 – March 10, 2002.  Travelled to: Centro Cultural de Belém, Lisbon, Portugal, October 10, 2002 – January 12, 2003.

“Gary Hill:  Selected Works 1976 – 2003,” Museum of Contemporary Art, Taipei, Taiwan, May 2 – August 24, 2003.

“Image, Body, Text:  Selected Works by Gary Hill,” San Francisco Museum of Modern Art, San Francisco, California, March 24 – May 30, 2005.

“Videographies – The Early Decades,” EMST (The National Museum of Contemporary Art), Athens, Greece, July 13 – December 31, 2005.

Seoul International NewMedia Festival, Seoul, Korea, August 4 – 14, 2011.

“SCHRIFTFILME: Schrift als Bild Bewegung (TYPEMOTION: Type as image in motion,” FACT, Karlsruhe, Germany and Liverpool, Great Britain, November 13, 2014 – February 8, 2015.

"Gary Hill: Momentombs," Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.

Fourth Biennale of Sydney 1982: Vision in Disbelief.  Sydney: Biennale of Sydney, 1982, p. 147.

Renouf, Renee. "Conceptual visualizations: Video Free America, San Francisco." Artweek 13, 23 (July 3, 1982), p. 2.

The Second Link: Viewpoints on Video in the Eighties.  Banff, Alberta, Canada: Walter Phillips Gallery, The Banff Centre School of Fine Arts, 1983, pp. 29, 45, 82, 83.

Hanhardt, John G. and Gary Hill. Gary Hill: Primarily Speaking, 1981-83. The New American Filmmakers Series 12. Program notes. New York: Whitney Museum of American Art, 1983, unpaginated.

Oeuvres vidéo de Gary Hill en sa présence. Center for Media Art. Program notes. Paris: American Center, 1983, unpaginated.

19^th Chicago International Film Festival.  Chicago: Chicago International Film Festival, 1983, p. 51.

L’Avantguarda Catalana del Video. Mostra de Vídeos Premiats al il Festival de Vídeo de San Sebastián. Mostra de les Cintes de Producció Espanyola Seleccionades al il Festival de Vídeo de San Sebastián. San Sebastian: Departament de Cultura de la Generalitat de Catalunya, 1983, unpaginated.

XXXI Festival Internacional de Cine de San Sebastian.  Program notes. San Sebastian, Spain: Il Festival de Vídeo de San Sebastian, 1983, p. vii.

Lee, Thomas. "March Screening Series at BF/VF." Visions Magazine (March 1983), p. 13.

Furlong, Lucinda. "A Manner of Speaking: An Interview with Gary Hill." Afterimage 10, 8 (March 1983), pp. 12 – 15.

Zeichner, Arlene.  “MoMA-TV: The Push to Artisfy Video.” Village Voice XXVIII, 36 (September 6, 1983), p. 83.

Larson, Kay. "Art Through a Screen Dimly." New York 16, 36 (September 12, 1983), pp. 86, 87.

“SF Video Festival.” Video Networks, San Francisco 7, 6 (September 1983), p. 1.

Lord, Catherine. "It's the thought that counts: Museum of Fine Arts, Santa Fe; University of New Mexico, Albuquerque." Afterimage 11 (October 1983), p. 11.

Actes du colloque video, fiction et cie. 2^e Manifestation International de Vidéo de Montbéliard. Montbéliard, France: CAC Montbéliard, 1984, p. 46.

So There, Orwell 1984. Program notes. New York: The Beard’s Fund, 1984, unpaginated.

“The landscapes we can see in installation video.” Video Com, Japan 14 (1984), pp. 20, 26, 27.

The Sixth Annual San Francisco International Video Festival.  Program notes. San Francisco: San Francisco International Video Festival, 1985, p. 147.

Sugihara, Mariko.  “Everything that is seen on TV is an idiom.” Video Com, Japan 20 (1985), p. 164.

The Image of Fiction: International Videoart Infermental 5. Rotterdam, Germany: Con Rumore, 1986, p. 41 & unpaginated.

Hanhardt, John G. and Gary Hill. Gary Hill. The New American Filmmakers Series 30. New York: Whitney Museum of American Art, 1986, unpaginated.

Video by Artists 2. Toronto: Art Metropole, 1986, p. 52.

Podesta, Patti. Resolution: A Critique of Video Art. Los Angeles: Los Angeles Contemporary Exhibitions (LACE), 1986, p. 25.

1986 SAW Gallery International Festival of Video Art. Ottawa, Ontario: Saw Gallery, 1986, pp. 6, 8, 21.

Bianchi, Lois. Video Transformations. New York: Independent Curators Incorporated, 1986, unpaginated.

Lalanne, Dorothée.  “Artistes in Video.” L’Autre Journal 6 (April 1986), p. 32.

Kolpan, Steven. "Bateson Through the Looking Glass." Video and the Arts (Winter 1986), p. 22.

“The Sixth Annual San Francisco International Video Festival. 1985 Catalog.” Video and the Arts 11 (Winter 1986), p. 28.

Feinstein, Roni. Contemporary Diptychs: Divided Visions. New York: Whitney Museum of American Art, New York, 1987, pp. 10, 11.

2^e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 63, 127.

Electrovisions: Japan 87 Video Television Festival.  Tokyo: Video Gallery SCAN, 1987, p. 93.

2^e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 63 – 66.

Berland, Jody. "International Video." Vanguard (April/May 1987), pp. 26, 27.

Fabre, Gladys C.  Art Video Americain.  Les Annees quatre-vingt. Program notes. Paris: Le centre de recherche, d’echange et de diffusion pour l‘art contemporain (CREDAC), 1988, unpaginated.

Gary Hill: DISTURBANCE (among the jars). Villeneuve d'Ascq, France: Musée d'Art Moderne, 1988, unpaginated.

Vidéoformes '89: Festival de la Création Vidéo. Clermont-Ferrand, France: Festival de la Création Vidéo, 1989, p. 12.

1989 Biennial Exhibition. New York: Whitney Museum of American Art, 1989, p. 210, 211.

Mittenthal, Robert.  “Video’s Event: Gary Hill Catastrophe.” Reflex 3, 6 (November/December 1989), p. 10.

OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990, pp. 13, 14.

Gary Hill: And Sat Down Beside Her. Paris: Galerie des Archives, 1990, unpaginated.

Passages de l'Image.  Paris: Musée national d'art moderne, Centre Georges Pompidou, 1990. (In Spanish: Passages de l’image. Barcelona: Centre Cultural de la Fundacio Caixa de Pensions, 1991, p. 141.)

V.I.P. – video –image(s) – peinture. Paris: galerie du génie, 1990, p. 17.

Le Temps des Machines. Valence, France: Centre de recherche et d’action culturelle (CRAC), 1990, unpaginated.

Passages de l'Image. Paris: Musée mational d'art moderne, Centre Georges Pompidou, 1990, p. 130.

Chion, Michel. "La bouche et la video." L'Image Video 3 (April/May 1990), pp. 20 – 22.

Devriendt, Christine and Paul-Emmanuel Odin. "L'image comme une aiguille qui ecrit au bout des mots Site Recite (a prologue) une video de Gary Hill." Kanal 6 (May 1990), p. 54.

Van Assche, Christine. "Gary Hill: The Imager of Disaster. Interview with Gary Hill." Galeries Magazine (December 1990/January 1991), p. 77.

IMPAKT: festival voor experimentele kunst. Program notes. Utrecht: Cultuurcentrum Ekko, 1991, p. 15.

Video Forum Berlin Bestandskatalog. Berlin: Neuer Berliner Kunstverein, 1991, pp. 16, 77.

Lageira, Jacinto. "Gary Hill. Une verbalisation du regard." Parachute 62 (April/May/June 1991), pp. 6 – 9.

Sarrazin, Stephen. “Objecten die leven Spreken, Tapes die Leren Zwijgen.”  Andere Sinema 104 (July-August 1991), p. 24.

Hill, Gary. Responses to a series of questions. Vidéochroniques 1 (September 1991), unpaginated.

Hill, Gary. "Site Re:cite." Camera Obscura: Unspeakable Images, San Francisco 24 (1991), pp. 125, 134, 136.

Romano, Gianni. “Inasmuch as it is always already taking place.” Lapiz 80 (October 1991), p. 36.

Watari, Shizuko. Gary Hill – I Believe It Is an Image. Tokyo: WATARI-UM, The Watari Museum of Contemporary Art, 1992, unpaginated.

Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 38, 40, 59, 87, 95.

Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 7, 16, 23 – 25, 28 – 31, 39, 40, 49, 63, 78 – 80. (Including a preface by Gary Hill and an interview with Gary Hill.)

Glowen, Ron.  “Natural processes of thought: video of the mind.” Artweek 23 (September 17, 1992), p. 24.

Fargier, Jean-Paul. “Gary Hill sur la crête des vagues.” Jardin des Modes (December 1992).

Cooke, Lynne. "Gary Hill: 'Who am I but a figure of speech?'" Parkett 34 (1992), pp. 16, 19.

ForumBHZvideo 1993. Festival Internacional de Vídeo: Limite. Belo Horizonte, Brazil: Festival Internacional de Video, 1993, pp. 46, 48. (Including an excerpt from Gary Hill, “Inter-view”).

Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 13, 38, 39, 45, 60, 61, 63, 105, 136. (Including an excerpt from Gary Hill, “Inter-view”).

Gary Hill: Sites Recited.  Long Beach, California: Long Beach Museum of Art, 1993, pp. 5, 7, 24, 25.

Mignot, Dorine. Gary Hill. Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993, pp. 8, 12 – 14, 18, 21 – 35, 49, 54. (Including an excerpt from Gary Hill, “Inter-view”).

Den Hartog Jager, Hans.  “Droomwereld.” HP de Tijd (September 3, 1993), pp. 113, 115.

Braet, Jan. “Schepen in de nacht.” KNACK (September 15, 1993), p. 132.

Murin, Preložil Michal. “Gary Hill.” Profil. Súcasného Výtvarného Umenia (December 1993), p. 28.

Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 48, 50, 62 - 64, 82, 83.

Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, pp. 2, 3, 5, 8, 15.

Thériault, Michèle.  Gary Hill. Selected videotapes 1978 – 1990. Toronto: Art Gallery of Ontario, 1994, unpaginated.

Vogel, Sabine B. “Im Licht des Monitors Gary Hill.” Artis (December 1994/January 1995), pp. 44, 45.

Vischer, Theodora, ed.  Gary Hill: Imagining the Brain Closer than the Eyes. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 69, 100, 118, 119. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 75, 108, 123, 124.)

Gary Hill: Tall Ships, Clover. Stockholm: Riksutställningar, 1995, pp. 14, 48, 58.

Duncan, Michael.  “In Plato’s electronic cave.” Art in America 83, 6 (June 1995), p. 69.

Klangkunst - Sonambiente festival für hören und sehen. Berlin: Akademie der Kunste, 1996, p. 71.

Lestocart, Louis-José.  “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), p. 20.

Dantas, Marcello. Gary Hill:  O lugar do outro/where the other takes place.  Rio de Janeiro: Magnetoscópio, 1997, p. 69, 80.

Joachimides, Christos M. and Norman Rosenthal, eds.  The Age of Modernism. Art in the 20^th Century. Ostfildern-Ruit, Germany: Verlag Gerd Hatje, 1997, p. 604.

Der elektronische Raum: 15 Positionen zur Medienkunst.  Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Dueuschland, 1998, pp. 147 – 149, 156, 157.

TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart.  Program notes.  New York: The Kitchen, 1998, unpaginated.

“Liminal Performance: Gary Hill in Conversation with George Quasha and Charles Stein,” PAJ (Performing Arts Journal) No. 58, Vol. XX, No. 1 (January 1998), pp. 8, 16.

Gary Hill: Video Works.  Tokyo: NTT InterCommunication Center, 1999, pp. 24, 30, 31.

Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, pp. 94, 114.

Rinder, Lawrence, ed.  Searchlight: Consciousness of the Millennium.  San Francisco: California College of Arts and Crafts, 1999, p. 65.

Morgan, Robert C., ed.  Gary Hill.  Baltimore:  PAJ Books / The Johns Hopkins University Press, 2000, pp. 33, 67, 69, 73 – 75, 82, 146 – 147, 163 – 164, 193, 195 – 199, 217, 218, 232, 292, 302, 306.

Gary Hill en Argentina:  textos, ensayos, dialogos.  Buenos Aires:  Centro Cultural Recoleta, 2000, pp. 9, 10, 25 – 26.

Gary Hill:  Instalaciones.  Córdoba:  Ediciones Museo Caraffa, 2000, pp. 29 – 30, 74, 75.

Hill (scape):  Gary Hill’s video screening, performance and installation exhibition. Program notes. Hong Kong:  Videotage, 2001, p. 7.

Lageira, Jacinto.  Des premiers mots aux derniers silences in Gary Hill:  Around & About:  A Performative View. Paris:  Éditions du Regard, 2001, pp.  14, 54 - 59.

Quasha, George and Charles Stein.  La performance elle-même in Gary Hill:  Around & About:  A Performative View. Paris:  Éditions du Regard, 2001, p.  34.

Gary Hill: Selected Works and catalogue raisonné. Wolfsburg:  Kunstmuseum Wolfsburg, 2002, pp.  21, 38, 89, 105 – 110, 112.

Video Acts:  Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust.  Long Island City:  P.S. 1 Contemporary Art Center, 2003, pp.  172.

Unfolding Vision:  Gary Hill, Selected Works 1976 – 2003.  Taipei:  Museum of Contemporary Art, 2003, pp. 15 – 16, 102 – 113.

Odin, Paul-Emmanuel.  L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo].   Marseille:  La Compagnie, 2007, pp. 51, 119, 140 – 148, 204, 260.

Spielmann, Yvonne.  Video: The Reflexive Medium.  Cambridge:  The MIT Press, 2008, pp. 101, 104 – 105, 108 – 110, 124, 191 – 197, 251 (photo only).

Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings.  Barcelona: Ediciones Polígrafa, 2009, pp. 24, 60, 122, 395, 396, 397, 399, 401, 463, 464, 473, 550 – 557, 575, 588, 624, 642.

Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 24, 25.

well

you know what they say

we've all heard it before

it never ceases to amaze me

this time

it's more than just a change in the weather

they've really outdone themselves

how they ever got it past us I don't know

in many circles it's considered the unspeakable

these types of goings-on surface every so often

statistically

one of us is probably involved

there's always someone willing to run the risk

at this point though

there are no tell tale signs to speak of

I wonder if the better thing to do is refrain from speculation

hang in there but hold back

not get caught up in the missing link syndrome

of course there's an ulterior motive

when is there ever not

that it's been dropped in our laps I'm sure is no accident

we can't just stand around though

where to go from here is the question

do you have any ideas

one thing's for certain

they don't know we'll go to any length to do what has to be done

for the time being

if we can hold our own

we're bound to come across something in that near future

Blue  Green  Red  Cyan  Magenta  Yellow

Food  Feed  Fed  I have the time of Day-Glo

there's no way in the world I'm going to get framed this time around

chances are you're thinking along similar lines

stick close to me and remember

I'll be calling the shots from now on

if at any time I drop back

you pick up where I left off

if we find ourselves losing touch here's a little piece of advice

there can never be an eye for an eye

there will always be a middle man

who will whisper in your ear at every turn

something to the effect of

"we can go by the book or you can eat my words"

no reason to go to such extremes

think little or nothing of it

then again

just to be on the safe side

better file it away for future reference

so

let's get on with the business at hand

we can cover a lot of ground in the time we've allotted ourselves

we have our choice

living in suspended animation

or under the auspices of supply and demand

when you buy and we sell we both trade

I've swallowed a good many hook line and sinker

in light of the fact

I've been a fish out of water for a long time

it's pretty safe to assume you're in the same position

sure

I know that you know that I know that you know

so on and so forth

you've got it all staked out

I know you were playing for keeps from the beginning

why do I sense a note of skepticism

listen

we can part company anytime

in case you've forgotten

this is all at your convenience

still

it's necessary if not by design that we cross paths in some way shape or form

Blue  Green  Red  Cyan  Magenta  Yellow

Food  Feed  Fed  I have the time of Day-Glo

off the record

this is somewhat out of character for me as I imagine being closed mouth is for you

if it all seems a bit too high and dry

take comfort in the fact

that coming up face to face would eliminate our time for reflection

look

on the surface

what do we have to lose

aesthetic persuasion

leisure time

what is it

why has it come to this

I've never turned on you before

or vice versa

have our shortcomings finally met

one of us must accept the other

if not the two of us accept each other

the remaining possibility is out of the question

objects in the mirror are closer than they appear

in light of the situation maybe it's wrong to carry on like this

we've been on delicate ground before

should one of us back off

wait

let's try to be objective

there's no sense in running ourselves into a ditch

in the midst of it all

let's try to be objective for a moment

point blank

who are you

I mean it

just this one time

we don't have to split hairs or anything

within reason

who

are

you

come on

shift gears for a minute

take a deep breath

you know the ropes

you're one of those in their right mind

take a deep breath and face the music

start now and work backwards

start in the middle and dream

think it over

rattle off a list if that's all that's left

never mind the images

they always return

if not new ones will replace the old ones

it's their destiny

even those permanently lodged

sooner or later lose their grasp

it's the nature of the beast

Blue  Green  Red  Cyan  Magenta  Yellow

Food  Feed  Fed  I have the time of Day-Glo

where did you leave off

did you take the plunge

what was the cut off point

maybe you need more lead time

there's a long way to go before hitting rock bottom

come on

put your best foot forward

move on it

cover some ground

get the feel of it

re-enter

you're not a backseat driver are you

I know what you're thinking

it's not in the scheme of things that you take me for a ride

after all

I'm your monkey business

I can never really touch you

I can only leave word

still

there's not much separating us

we're like-minded

I ask the same questions

you give the same answers

you can't teach an old dog new tricks

or can you

I don't know

you tell me

what's what

maybe you prefer  sightseeing and I'm better off leaving well enough alone

time on our hands is blood on our hands

I think we're off the track

I know we're off the track

I never for one moment thought I could railroad this through

I knew it was coming

this is the diminishing return I failed to negotiate

sad but true

less is more

more or less

more and more of the time

oh well

such as it is

Blue  Green  Red  Cyan  Magenta  Yellow

Food  Feed  Fed  I have the time of Day-Glo

in the meantime

let's not lose sight of the facts

they do not need reiterating

there's a time and place for everything

I hope we haven't come here under false pretenses

there are things that should be said and things that should be done

you've been around

and I've been around

double talking will get us nowhere and second guessing is a lost art

quite simply

we are an act of faith

there's no reason we can't walk out of this together

face facts

the controlling factors of our little mise en scène are untouchable

take my word for it

put me above suspicion for a moment

accept it

you are on the receiving end

the distances we imagine are next to close by

at arm’s length

easily penetrable

we are at each other's disposal

we can concentrate on our discrepancies or we can split the difference

that which takes the edge off

in any event

it is on our consciences

don't don't block block the the box box

a a void void grid grid lock lock

the fixation moves from left to right

as time goes on it becomes clockwork

you will have your way and I will make do

in the end we can double back or play the field

I don't want to deny you your own flesh and blood

who am I but a figure of speech

free standing

in advance of a broken arm

these things can happen when one gets ahead of themselves

I'm just going to sit tight

take refuge in the picturesque

things travel fast by word of mouth

I can be long-winded at times as well as drag my feet

the logical conclusion

I'm always putting my foot in my mouth

of course you understand

this is all in a manner of speaking

I don't want to underscore my place here that would be misleading

after all

it's not an open door policy

by the same token

it's very touch and go here

anything can happen at anytime and no one's privy to that bit of information

I don't want to make a production out of it though

all I want is to walk through it with you

we don't have to go to the four corners of the earth to discover we speak the same language

savvy

the place is here

the time is now

zero hour

and so on

Blue  Green  Red  Cyan  Magenta  Yellow

Food  Feed  Fed  I have the time of Day-Glo

I want to come to terms with where we began and let the rest fall into place

granted

there are many simultaneities

that goes without saying

but for practical purposes

we should respect our limits

so

take a good long hard look at yourself

never mind me

I’ll just go in one ear and out the other

complications can arise in the simplest of forms

and should be played out

watch it

perhaps the most we can do is try and remain true to form

however short-lived these moments may be we can never return to the killer instinct

listen

the floor has been mine now for longer than I care to remember

do you want to talk

do you want to talk it over

do you want to talk about it

feed it intravenously

and have it be over with as soon as possible

I know the position you're in

if you can pull it off

more power to you

it's never clear cut and you'd be wasting your time with the clean break idea

I'll bend over backwards to meet you halfway

in view of where you stand where does that put me

where does that leave us

in the mercenary position

perpendicular

but right side up

no

we can't go by rote memory

there's nothing tying you down and there's nothing letting you go

make up your mind

get a grip on things

your modus operandi

square off and break ground

put your head on the table tangent to your ear

talk to yourself and smile know that you are still here

on the level

perhaps I'm not coming across

I know it's difficult in these close quarters

I've tried to make it as easy as possible

I assure you

one can adapt to this neck of the woods

I'm not out of bounds

you know it and I know it

I'm not going to walk off with it

and you're not going to let it get away

when I'm through

you are going to know what I am talking about

word for word

let's face it

we are too few and far between to let generalities get the best of us

up to this point

when all is said and done

so far so good

when it gets down to the wire perhaps it will be a different story

again

let's not get ahead of ourselves

we're bound to end up in the red that way

you might think the grass is greener on the other side

but it's once in a blue moon a situation the likes of this can occur

in all seriousness

you're dead center in the sightlines of a tour de force

etcetera

etcetera

etcetera