landscape. Cardiff represented Canada at the São Paulo Art Biennial in 1998, and at the 6th Istanbul Biennial in 1999 with her partner George Bures Miller. In her Forty Part Motet (2001) she placed 40 speakers in 8 groups, each speaker playing a recording of one voice singing Thomas Tallis' Spem in alium, enabling the audience to walk through the space and "sample" individual voices of the polyphonic vocal music. This work is now part of the permanent collection of the National Gallery of Canada in Ottawa, Ontario, Canada., the Museum of Modern Art in New York City, and of Inhotim in Brumadinho, Brazil. This work was presented at The Cloisters, September to December 2013, that museum's first presentation of contemporary art. The work was installed in the Fuentidueña Chapel, which features the late twelfth-century apse from the church of San Martín at Fuentidueña, near Segovia, Spain, providing a transformed acoustic experience. A recent mid-career retrospective, Janet Cardiff: A Survey of Works, Including Collaborations with George Bures Miller, opened at P.S. 1 Contemporary Art Center, Long Island City, Queens, in 2001 and has travelled to Montréal, Oslo, and Turin. Exhibitions in 2006 include Good Vibrations–Le arti visive e il Rock, Palazzo delle Papesse, Centro Arte Contemporanea, Siena; Anticipation, The Museum of Contemporary Photography, Chicago; and Sonic Presence, Bergen Kunsthall, Bergen, Norway. In Real Time (1999) was the very first video walk that Cardiff created. It took place in the library of the Carnegie Museum of Art and begins with the participant donning a pair of headphones attached to a small video camera. Upon playback Cardiff says to watch the screen and follow along with what we see and hear for approximately 18 minutes. This piece relies on the discrepancies between what is seen on the video monitor and what is actually occurring in the library. Work with George Bures Miller "The Dark Pool" was the first multimedia installation collaboration Cardiff and Miller created and showed in 1995 in Vancouver. The work consists of a dimly lit room, furnished with cardboard, carpets, and collected ephemera and artifacts, through which visitors move, triggering sounds such as musical segments, portions of conversations, and bits of stories. Cardiff and Miller consider the work very personal and, despite offers, have not sold it. Cardiff and Bures Miller represented Canada at the 49th Venice Biennale with Paradise Institute (2001), a 16-seat movie theatre where viewers watched