In Wish, Myre resists the analytic gaze. Time is marked, albeit imprecisely, by the upward and downward movement of her body, and paradoxically nonlinear, since the videotape loops incessantly. Virtually unrecognizable, her body has been transformed to a trace or shadow of itself. The abstraction, the elusiveness of the image implies that hers is not a project of traditional anthropological recovery. Instead, the rapid, vaulting motion embodies Myre’s wish to transcend her corporeality and propel across the chasm of space and time and join those she never knew, to literally hurdle over the barriers and commune with those within Grandmother’s Circle. Myre’s movement is a literal incarnation of this desire, making it concrete and tangible. By identifying it as prayer, she alludes to the performative function of her solitary ritual before the camera: there is no conclusion or resolution other than the action of wishing, in becoming Wish itself. Rhonda L. Meier, 2004