If someone could find a way to implant a movie camera inside the human body, Michel Auder would probably be at the front of the line for the surgery. Since 1970, when he bought a Sony Porto Pack, the first truly portable camcorder, Auder has been filming his surroundings almost without pause. The results of this forty-year project, by turns glamorous, lyrical and seedy, include scenes of domestic life with ex-wives Viva and Cindy Sherman, portraits of friends such as Alice Neel and Andy Warhol, footage shot from TV screens, and voyeuristic observations of strangers seen on rooftops and through windows. A generous selection of videos, installations and photographs are now on view in "Keeping Busy: An Inaccurate Survey of Michel Auder," an exhibition spread somewhat chronologically among three galleries: Participant, Zach Feuer and Newman Popiashvili.
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