New York Times' art critic Roberta Smith is absolutely giddy about the Douglas Gordon show at the Hirshhorn.

I haven't seen the show yet (but will) and I will be honest enough to admit that I am already predisposed to dislike it, or rather to be bored by it, which is what happens to me with a large percentage of video "art."

The reason (I think) is that often the concept of the video artist's "art" is a lot more interesting than the final product. Add to that that "video art" is more often than not a combination of video and still photography - really a traditional mish mash of genres, and by the second or third video in a row by the same guy, I find myself just reading the wall text and looking at the still photographs and just barely glancing at the actual home movie... oops! I mean "video art."

But not Ms. Smith, who finds that Gordon's work "can trigger an almost giddy optimism about the general state of contemporary art and refresh your confidence in the possibility of artistic progress, even in these postmodern times."

Gordon's most famous and acclaimed work — famous indeed, but I wonder how many people have actually seen it in its entirety — is "24 Hour Psycho," an installation in which Alfred Hitchcock's famous movie thriller is extended to 24 hours, instead of proceeding at the usual speed of 24 frames per second. You can see it at the Hirshhorn - pop corn prohibited.

Progress is progress...

Today is the third Friday of the month and thus the Canal Square Galleries (31st Street NW and M Street in Georgetown) will have their monthly openings. We will have what I consider our key photography show of the year.

It is work by three of Cuba's most gifted female photographers: Elsa Mora, Marta Maria Perez Bravo and Cirenaica Moreira.

The openings go from 6-9 PM and are catered by the Sea Catch Restaurant. They are free and open to the public. Also tonight, instead of our usual Sangria, we will be serving Cuba Libres (Rum & Coke), and playing Benny More music to get in the Cuban mood.

See ya there!