In the basement is Amanda Beech’s nail-biting “Final Machine” (2013). Displayed on an immersive three-channel theater, the piece combines sniper-scope vignetted footage of high deserts, Miami highways, and other noir landscapes (basically, a more scenic Zapruder film) with an unerring, unshaking voiceover blending the CIA, Michael Mann, and Louis Althusser. The monologue is purposefully opaque—one might say redacted—but the (e)visceral power brought me back again and again.