Enclosure

Benglis uses the video format as a metaphor for other types of limiting conditions or limited realities. "The constant motion of Benglis's hand-held camera (scanning her studio and two television sets) calls attention to the limits of the camera's field of vision: the walls of the studio are the ultimate 'enclosure' of the camera's eye. The open window and the sound of children (from the street) seem to suggest release; yet the confines of the studio are never truly broken."

—Carrie Przybilla, "Synopses of Videotapes", Lynda Benglis: Dual Natures (Atlanta: High Museum of Art, 1991)

This title was in the original Castelli-Sonnabend video art collection.