The Museum of the Moving Image in Queens is currently hosting “Overexposed: Art, Technology and the Body,” an exhibition exploring the evolution of medical imaging and its intersection with art and technology over the past century. The show runs through January 3 and features a diverse array of works that examine the human body beneath the skin, highlighting the complex mix of fascination and discomfort that such imagery evokes.
The exhibition opens with early visual representations of the skeleton, including an 1897 film by the Lumière brothers depicting a dancing skeleton puppet. This early motion picture predates Walt Disney’s well-known “skeleton dance” cartoon by nearly 30 years. Alongside these historical films, visitors can view a turn-of-the-century X-ray study capturing the motion of a knee bending, illustrating the origins of medical imaging as a scientific tool.
As the exhibition progresses, it shifts toward the more voyeuristic and artistic uses of medical visuals. Among the items is a pair of novelty X-ray glasses, historically marketed with the claim that users could “see thru clothes.” The show also features film and video artworks that impart a more intimate and abstract interpretation of medical exposure. Barbara Hammer’s “Sanctus” (1990) overlays two skull images, while Ana Mendieta’s “X-Ray” (1975) focuses on the movement of tongue and vocal organs, blending macabre aesthetics with personal expression.
The exhibition further broadens the perspective on biological connections with the short film “Grandmamanutsistercat” by Polish filmmaker Zuza Banasinska. Through a collage of scientific footage—microbes, children, insects—the film suggests a form of trans-species genealogy, challenging traditional notions of family by extending kinship beyond human lines.
Technological advances in medicine also inspire new forms of artistic inquiry. The da Vinci surgical system, a robotic tool enabling precise internal surgery guided by endoscopes, is featured in Liz Magic Laser’s 2009 video “Mine.” In this work, the artist applies the surgical instrument to dissect her own purse, cutting through leather, a photograph, and everyday objects. This metaphorical self-portrait parallels the vulnerability revealed in medical procedures, posing questions about the body and identity.
One of the exhibition’s most striking pieces is the six-channel video installation “De Humani Corporis Fabrica” (2022) by Véréna Paravel and Lucien Castaing-Taylor. Using vibrant magenta and cyan tones, the installation offers unsettling glimpses of clinical procedures, including surgeons examining breast tissue biopsies and performing robotic prostate surgery. The footage underscores the harsh realities and dark humor inherent in medical practice, highlighting the tension between healing and the violent intrusion required to achieve it.
“Overexposed” presents a multifaceted exploration of the body as seen through medical technology, blending scientific history, artistic interpretation, and technological innovation to provoke thought about what lies beneath the surface.