The video work of Providence–based artist Tony Cokes examines the weight of visible evidence. In a visual deconstruction of animated text floating on one-color slides, the deadpan presentation Evil.27: Selma borrows text from the Selma, Alabama collective Our Literal Speed; “The American Civil Rights Movement took hold in a society moving from radio to television.” The slides shift; “social collectivity dependent on imagination” then transition to “everything is instantly visible.” We cannot turn our heads, the spectacles seen on television cannot be unseen. This piece speaks to the media’s power and how they disseminate and articulate images. It resonates deeply today in a “video or it didn’t happen” culture, where even moving images are precarious testimonies to be debated as either fact or fiction.