Helena Huneke presented a Quiet. b Quilt. c Quit. d Quite. which employed objects that were transformed through lexical operations and poetic descriptions from states of decay to new modalities of function. In Los Angeles, Huneke reflected on the word “exile,” by examining the particularity of the stranger’s language in relation to an environment of displacement. With an interior installation (serving to evoke the unconscious as well as an architectural situation), she created a spatial structure posing examples and questions in an abstract visualization of the term “Frauenzimmer” (“Women’s Room”).

Martin Liebscher’s Intersection mined images of city spaces and urban structures through photography, employing a camera he invented that read space like a scanner. Photos taken from the interiors of moving cars emphasized the extreme horizontality and constant motion of L.A. With Intersection, he contrasted the Los Angeles that existed in our memories from movies with the urban reality he photographed from cars.

Isa Rosenberger presented Good Luck, a video detailing her experiences with Las Vegas “gambling fever.” The video examined the intersection of Rosenberger’s own fascination for gambling, speculation, prognosis, and risk with that of so many others at a time when Las Vegas was one of the fastest growing cities in the U.S. Taking as her inspiration from Sharon Stone’s role as a gambling queen in Martin Scorcese’s Casino—a woman ultimately defeated by the corrupt male-dominated mafia system—Rosenberger asserted her feminist viewpoint as she explored gambling fever.

Noa Schiller exhibited her black and white photographs of ethnic communities in Flashback, a review of her time spent in the U.S. and a commentary on cultural traditions and customs. Considering issues of belonging and identity, her work dealt with the daily lives of people in their own environments and their interactions with others from different places and political structures. She was particularly interested in how local customs may affect a non-native group and their traditions and the sometimes strange and remarkable adaptations that may result. While based in Los Angeles, Schiller worked with local communities as well as groups based in Mexico, Arizona, and Las Vegas.