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By accident or design, the digitally animated eagle at the center of Gary Hill’s new installation is a wimpier version of the squawking bird that opens The Colbert Report. Here, the veteran sound-and-image artist’s political symbols of the most obvious kind (gold bullion, a broadcast tower) upstage an unsettling soundtrack of cracking whips. Guilt, an installation of gold coins printed with torture scenes and viewed through telescopes, combines a bad pun with a weary metaphor. Turning the abuses of Abu Ghraib and Guantánamo into genuinely affecting work is more difficult than it looks; Thomas Hirschhorn and Fernando Botero are among the few who have pulled it off. And in art, unlike TV satire, the blowhard act wears thin fast.