When every part of art project, from exposition to the title, fit so easily and naturally they condense into an unpalpable shroud of authenticity and fascination, I feel anticipation for the right consistency and precise installation. Video installation by Tanya Lieberman shares this crystal clarity of sterling syllogism. Works like this are rare, and usually they needn't multilayer explications; lucidity of the author's construction rather provokes elementary statement of what's given, evokes mental replay as if that perfect hit is your own merit. As if the endlessly repetitious gesture, looped by videotape, is not the best of possible metaphors of psychopathology, which appears as an impossible realization, as a stereotypy without a chance of correction. As if the "Psycho" title doesn't refer to the Hitchcock's horror film - where main character was doomed to live until his gesture is repeated, first by himself, then reconstructed by the Bates Motel inhabitants. As if Anthony Perkins, having played this part in Hitchcock's movie, was not constrained to replay his character's fate again and again, in a serial repetition of this inexhaustible story (in "Psycho II" and, as a director, in "Psycho III"). As if three years later Perkins hasn't played in Orson Welles's adaptation of Kafka's "The Trial", this overview of social pathology existing through delays, deferments and overhauls, which very title points at the only necessary term that includes continuity and endurance. As if the abovesaid examples don't reveal evident mechanics of construction and performance of the exhibited project. As if it was made differently. As if it happened differently. As if it were, but not is and will be, as another maniac with a camera said: "Until the end of the world". However all this text might be an insane delirium, inspired by a delicately modeled exposition which reproduces this very delirium. Or is it vice versa?