The video installation's alternation between slow and fast-moving images, as well as soft and loud sounds, represents faltering thought processes. A murmuring voice illustrates the installation's effect on the viewer's mind.

Internationally acclaimed and award-winning video installation artist Bill Viola juxtaposes personal pictures of his mother's death with images of his own son's birth to explore foundational and potent themes of beginnings and endings, the cycle of life and the movement of generations. An evocative exploration of personal and communal spirituality, this deeply felt film is a poetic masterpiece to contemplate time and again.

Viola describes Moonblood as "an expression of the feminine principle, a work in three parts relating to a personal concept of woman and mother. Day and night converge within the silhouette of a woman at a window — a rushing waterfall in winter, and the serene interplay of changing dawn light unfolds within a glass of water at dawn in the desert."

The title of Vegetable Memory derives from the writings of Jalaludin Rumi, a 13th-century Persian poet. Evolving as what Viola terms a "kind of temporal magnifying glass," the work explores the perceptual phenomenon of repetitive, cyclic viewing. A loop of images recorded at the Tsukiji fish market in Tokyo is extended in progressively slower cycles, changing the form, feeling and ultimately the meaning of the original images as they move further into the subjective and pictorial.

Silent Life records the first hours and days of life through a series of portraits of newborn babies in a hospital nursery. The alienating hospital environment, and the vulnerability of the babies' gestures and expressions, suggests a primal linking of birth and death.

Slowly Turning Narrative includes two projections on a large central rotating screen. One presents images of virtually everything that constitutes life, embracing the broadest sweep from birth to death. The other shows a close-up of Viola’s head incanting “the one who lives,” “the one who acts,” “the one who reads,” and more. As this screen rotates, a mirror on the back comes into view, reflecting the image of the viewer in this video evocation of human existence.

The rituals and philosophies of indigenous non-Western cultures recur throughout Viola's work. In 1976, he travelled to the Solomon Islands with portable color video equipment, which was then a new technology. The first of two "visionary documentaries" produced during his two-month stay, Memories of Ancestral Power centers on the cult leader Moro and his efforts to retain ancient traditions in the face of increasing Western influence. In this collaboration of Viola, Moro, and his followers, much of the structure and content of the recordings were determined by the subjects themselves. Moro explains his vision during the course of a visit to the House of Memories and other sacred sites in the village.

A series of shots depicting "America" are laid over a classic Gregorian Chant recreated through the distortion of a woman's screams.

With a title referring to Japanese folklore, wherein things done on the first day of a new year are significant, the film - an ardent dream entirely shot in Japan - stands as a spiritual allegory equating light and dark with life and death.

The sculptural video installation consists of nine scrims suspended parallel to one another. Projectors at either end of the row of scrims show images of a man and a woman walking towards each other, crossing in the center and moving apart.