like the piers and bars. MIX received no funding and managed to break even on enthusiastic box office support. They showed gay experimental film from other countries and brought films by hand to venues around the US, Europe and Japan. The festival has shown the work of filmmakers such as Barbara Hammer, Nisha Ganatra, Teri Rice, Jonathan Caouette, and Isaac Julien among hundreds more. As makers began to die of AIDS, Jim became active in film preservation, beginning with the film Avocada by the late Bill Vehr of the Ridiculous Theatrical Company. Eventually, he preserved over 2,000 hours of AIDS Film and Video, now available for free viewing at the New York Public Library. During Sarah and Jim's tenure, no one was ever turned away from MIX due to inability to pay. The festival also included Transsexual work from the very first year, with Marguerite Paris's film All Women Are Equal. They found ways of getting works by makers like Chantal Ackerman who did not show in gay festivals. Among many fabulous moments in the festival's history was MIX's screening of Andy Warhol's Blow Job which was attended by Kitty Carlisle Hart in a gown with a tuxedo'd escort. 1990s Hubbard & Schulman ran the festival together as a community event from 1987-1991. After the 1991 festival, Schulman wanted to devote more time to her writing. The 1992 festival was organized by Hubbard and filmmakers Marguerite Paris and Jerry Tartaglia. That year also introduced shows programmed by guest curators, who brought new perspectives to the line-up. Notable shows included Our Fanzine Friends, which drew upon the hot trend of queer zines, featuring work by Glenn Belverio and Bruce LaBruce; and Fire, featuring work from the African diaspora. This last program featured work by Dawn Suggs, Shari Frilot, Thomas Allen Harris and others. In 1993 Frilot and Karim Ainouz were the co-directors, and introduced many changes, including the name MIX, the production of a catalog (instead of handing our program notes), a new venue (The Kitchen instead of Anthology Film Archives) and a commitment to multicultural presentations and installation work. A stunning program that year was called The 1000 Dreams of Desire, curated by Jim Lyons. It was a special show featuring Teri Rice's The Kindling Point and Les Affaires, at the Ann Street Bookstore in Lower Manhattan, where the peep booths were reprogrammed with experimental video, and 16mm film was