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IN AMY GRANAT AND DREW HEITZLER'S 2007 double-screen film, T.S.O.Y.W., on view in the 2008 Whitney Biennial, a motorcyclist travels from Robert Smithson's Spiral Jetty, on the banks of the Great Salt Lake, to the Mojave Desert. But the primary sense of movement is in the back-and-forth between the two projections: Sometimes the images on the screens are just slightly off-register, as if Granat and Heitzler were shooting standing next to each other; sometimes they're completely divergent. The lateral dynamic cuts across and impedes the lineat momentum of the journey, as does the intermittent interpolation of abstract imagery and the droning sound track. It's a long and mesmeric film, and at times...
