The title of this group show has been cribbed from Kenneth Anger's short film _Kustom Kar Kommandos_' (1965), in which a young man buffs his chromed hot rod to the tune of _Dream Lover._ The show's mood, however, has less to do with car fetishism than with the current crisis of the auto industry. Among the show's many videos, two works by Nancy Davenport set the tone. One shows an assembly line at a Jaguar factory in England. The other documents an exit interview between laid-off Norwegian auto workers and a public relations representative. Questions like, ''Is it viable for a society to be so dependent on one employer?'' might as well be aimed at Detroit. Military vehicles inspire works by Angie Waller and Alex Villar. Ms. Waller composes a video and photographic collage, _Armored Cars: Protect Yourself From Ballistic Attacks_, from manufacturers' marketing materials. A novelty to everyone outside the trade, the advertisements play to post-9/11 insecurities and the fears of the wealthy in politically unstable regions. In Mr. Villar's black-and-white video projection _Crash Course,_ a Hummer is systematically attacked by a suspicious-looking man in a succession of nocturnal cityscapes: Beijing, Copenhagen and New York. It's a classic who's-the-villain scenario. A Dadaesque pamphlet by the British art duo Dexter Sinister seems less pertinent, until you consider its assembly-line means of production. And on March 7 the artist Liam Gillick is to deliver a lecture about ''the factory that exists but does not produce'' -- a theoretical bailout. KAREN ROSENBERG Rosenberg, Karen. "Art in Review: Custom Car Commandos," _The New York Times_, February 17, 2009.