projected in a separate room. MIX returned to Anthology in 1994, and combined with DCTV's Lookout Lesbian & Gay Video Festival because DCTV's building was under renovation. Ainouz scaled back his involvement, and Frilot became the definitive voice of MIX, making the organization a home for emerging filmmakers and makers of color. This was signaled by 1994's opening feature, Brincando El Charco, and even more powerfully when 1995's opening and closing events were films by makers of color These films, Vintage: Families of Value by Thomas Allen Harris, and Frilot's own documentary Black Nations/Queer Nations, brought new audiences to MIX. They started satellite festivals such as MIX Brasil (1993) and MIX Mexico (1996). 1996 was the festival's 10th anniversary, and in honor of this milestone MIX presented queer work from the African diaspora at the Victoria Theater in Harlem, in addition to its downtown programs at NYU's Cantor Film Center and the Knitting Factory. Frilot headed MIX through 1996. Her other legacy was a commitment to installation work and the nascent digital realm. Installations were on view in 1993, on the upper floor of the Kitchen. But in 1994, Shu Lea Cheang and Beth Stryker curated Cyberqueer, in the basement galleries of Anthology. Although installations were presented in subsequent years, they never matched these early efforts until new MIX NYC staff began devoting substantial space and resources to installations in 2006. Frilot went on to become a curator at the Sundance Film Festival. Rajendra Roy was in charge in 1997, when the festival moved to Cinema Village, which was then a single-screen theater on E. 12th Street. In 1997 Ernesto Foronda and Maïa Cybelle Carpenter were programming coordinators for the festival. Carpenter stayed on until 1999, also curating additional programs in the years to follow. Roy brought on Anie Stanley as artistic director in 1998, and as a team they propelled MIX to greater visibility, with more corporate sponsorship, but with less emphasis on the identity politics of the early 1990s. 1998 also saw a sidebar of 8 mm films curated by Stephen Kent Jusick, featuring work by both contemporary makers and old masters, such as Jack Smith, and Andy Warhol's Polavision home movies. Roy is now the Celeste Bartos Chief Curator of Film at The Museum of Modern Art. 2000s Roy & Stanley stepped down after the 2000 festival, making way for Ioannis Mookas, who took the title of