Crossing Surda by Emily Jacir documents her daily walk across the Surda checkpoint to Birzeit University, exposing military restrictions, violence, and the disrupted lifeline between Ramallah and surrounding villages.

An expanded cinema piece exploring walking, filmed from three perspectives: 2 cameras on the body and 1 external. It challenges perceptions of space, body, and objectivity, questioning how different viewpoints influence our understanding of reality.

Ashes is built through drifting rather than narrative. Apichatpong lets images wander—daily routines, village walks, fleeting gestures—colliding with political protests in Thailand, creating a film shaped by memory, observation, and quiet resistance.

Komatsu, using a compass, follows the sun’s path across the city from east to west, overcoming obstacles like trees, walls, and streets. The video pauses whenever the route becomes impassable, highlighting the limits of the journey.

The artist circles his Finnish home for 12 hours, running 65 miles. The repetitive loop is filmed in HD and exhibited as a 12-hour performance, turning endurance into futility and contrasting modern travel’s reach within half a day.

Phat Free (1995/1999) by David Hammons shows him kicking a metal bucket down a deserted city sidewalk. The rhythmic, metallic sounds create a musical, improvisational effect, blending street life, jazz, and hip-hop while evoking urban struggle and poetic gesture.

In Infrastructure (2002), Rachel Reupke depicts tiny human figures walking, fleeing, and pursuing through an Alpine transport network of airport, railway, autobahn, and ferry port, contrasting fragile human movement with relentless traffic and monumental infrastructure.

On September 13th, Jennifer West’s One Mile Parkour Film transformed the High Line into a dynamic art space, with a one-mile filmstrip laid along the park. Visitors interacted with the film, which featured West’s footage of Parkour performers. The day included performances by elementary school children and Parkour athletes. The altered film was digitized and shown on October 17th at the High Line.

Lauren Brincat's Walk the Line explores borders, territory, and disappearance through walking. Filmed at Cape Leeuwin, Australia, the video contrasts geological formations, dunes, and ocean, invoking both physical and metaphorical boundaries in a haunting, solitary performance.

In Scratching Both Walls at Once, Rebecca Horn extends her “Finger Gloves,” creating longer versions to scratch the walls of her studio while walking. The performance, filmed by Horn, explores the relationship between body and space, continuing her evolving “Personal Art” series.

A lone figure follows the Greenwich Meridian across England, moving straight north regardless of obstacles, from sea to sea. The video treats the zero line of longitude as a literal path, exposing its artificial, historical origins.