FEW POSTWAR ARTISTS have altered our perception of space and time as much as Michael Snow has, and yet the full depth of his tireless experimentation remains unfathomed. In the following pages, film historian P. Adams Sitney pans across the expanse of the Canadian polymath’s nearly eight-decade-long career, while artist Arthur Jafa zooms in on Wavelength, 1967, that metaphysical milestone of avant-garde cinema that exemplifies Snow’s desire “to make seeing palpable.”
