Abstract
This paper explores the way that a body of films made for the gallery space (gallery films) both make use of and transform our understanding of off-frame and off-screen space. Focusing on examples from the work of Steve McQueen, George Barber, and Stan Douglas, I argue that once the frame is either emphasized or connected to the gallery space that surrounds it, so the off-frame can be configured differently and the off-screen is highlighted as a space where we confront the limits of representability. The consequences of all of this are evident in my final example: Isaac Julien's Vagabondia (2000).