How does video mediate our perception of the body? This question is at the core of the work of acclaimed artist Gary Hill, who explores video in both its sculptural and projected forms. Starting with a video framed by a monitor, Hill engages in a complex and often literal deconstruction of the frame, restaging the image within sculptural objects. In Suspension of Disbelief (for Marine) — one of seven works on view and a recent acquisition — 30 rasters (monitors stripped of their casings) are set side by side in an I-beam, a spatial representation of the 30 frames in one second of video. Glimpses of two naked bodies flicker from screen to screen like a musical composition. The state of consciousness implied by the piece's title references another of Hill's preoccupations: illusion as an inherent quality of the mediated world.