"Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970" With almost 50 video works on view, this show is definitely worth the trip, even if you can only hit the highlights. Co-organized by CAMH curator Valerie Cassel Oliver and Dr. Andrea Barnwell Brownlee, director of the Spelman College Museum of Fine Art in Atlanta, the exhibition spans generations. In Cornered, Adrian Piper's iconic 1988 video installation about race, Piper, a woman with dark hair and an olive complexion, speaks to you on a video monitor, saying "I'm black." Like the philosophy professor that she is, Piper patiently dissects the meaning of that statement in a brilliant and illuminating exercise in logic that demonstrates the inescapability of race in America. Big Gurl (2006) is a Barbie-filled stop-motion animation tour de force work by the young Houston artist Lauren Kelley. Kelley uses goofy stop-motion animation and a host of modified Barbiesque dolls to tell stories about women's lives that blend humor with poignancy. Lip, Tracy Moffat's 1999 video, features clips scavenged from film history of black women portraying maids in film. History of a People Who Were Not Heroes (1994), María Magdalena Campos-Pons's video, plays a haunting Cuban lullaby while a sheet-draped rocking chair moves back and forth. Cut, a video by Bradley McCallum and Jacqueline Tarry, shows the artists, a couple, cutting each other's hair with a straight razor. McCallum is white and Tarry is black, and the seemingly straightforward mutual act evokes power, submission, loss and sensuality. Video is a powerful medium, yet it's a medium that requires a level of commitment from the viewer. But expand your attention span, and your patience will be rewarded. Through January 4, 2009. The Contemporary Arts Museum Houston, 5216 Montrose Blvd., 713-284-8250. — KK

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