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# Alice Wang aims a first-person camera at cosmic architecture
- URL: https://www.killscreen.com/alice-wang-aims-a-first-person-camera-at-cosmic-architecture/
- Published: 2026-09-01T22:23:44.000Z
- Updated: 2026-09-01T22:23:44.000Z
- Description: Four films screened at the New Museum treat Mayan monuments and radio telescopes the way a game treats a level: a frame of reference to inhabit.
- Author: Kill Screen Staff
- Tags: Alice Wang, new museum, experimental film, Film, New York, video art

Over the weekend of August 15 and 16, the New Museum's Videodrome program screened all four films to date of Alice Wang's *Pyramids and Parabolas* (2019–2026): the seven-minute original, *Touching the Cosmos*, *Space Analogs*, and this year's 24-minute *The Sky Is Not Real*. [The announcement](https://www.instagram.com/p/DcEIlhmnPAT/?ref=killscreen.com) describes the series as building "perceptual frameworks through which the unknown may be encountered," which is a curatorial way of saying these films teach you how to stand somewhere impossible.

![Flyer for New Museum Videodrome: Films by Alice Wang, August 15-16, 2026](https://storage.ghost.io/c/25/84/2584b75d-4bd6-4cce-8259-f1d1c65abbb5/content/images/2026/08/alice-wang-pp-1.jpg)

The Videodrome program ran August 15–16 at the New Museum, from [the announcement](https://www.instagram.com/p/DcEIlhmnPAT/?ref=killscreen.com).

The method is the interesting part. *Space Analogs*, shot on 16mm and HD across six years of solitary journeys through Utah, New Mexico, Arizona, Iceland, and the Arctic, treats terrestrial landscape as a stand-in for other worlds—[Wang's own notes](https://llllllllllllllllllllll.com/pyramids-and-parabolas-iii-space-analogs?ref=killscreen.com) call it "a structuralist meditation on alienation and exploration." Hexagonal basalt columns become an animated wave, then the molecular structure of MDMA, then serotonin, before the film slips underwater into Iceland's Silfra Fissure. Elsewhere in the series, Mayan pyramids and radio telescopes are framed as architecture for perceiving the cosmos, and a body-scan meditation prepares the viewer as an instrument.

No controller anywhere in this one—just the first-person grammar that games taught the culture. The free newsletter tracks where else that camera turns up.

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