Rene Gabri and Ayreen Anastas travelled for 16 days in Palestine and Israel, shooting a short film on each day. This is Day One, 'Good Architecture'. An American Israeli activist is discussing the background to his work opposing the wall and settlements.

"You couldn't have the occupation, it wouldn't exist, if you didn't have planners and architects building the settlements, planning the whole infrastructure, what I call the whole 'matrix of control' over the occupied territories. What's ironic is that the planners and architects are all liberals, they're all probably to the left of Labour. What happens, on the one hand, is that architecture and planning provide this cover and facade that hides, under a very liberal facade, a political agenda and terrible things that are happening politically.

"On the other hand, the liberal architects and planners that are doing it can rationalise it by saying, look, it's a jobf Planning it very benign: it's highways, it's development, it's housing.

So you take the entire occupation and you cover it under this benign neutral, technical facade of planning.

"The problem with liberals is that they internalise the dominant ideologies . . . Zionism, Judaisationf You don't have to say to yourself, 'I'm acting as a Zionist to Judaise the city against the Arab population', because as a liberal you couldn't do that.

"It's very insidious the way ideology does form a backdrop for architects and planners but that isn't articulated."

Gabri and Anastas's video series is called 'What Everybody Knows' and is showing in Dublin's Project Arts Centre as part of a group exhibition called 'Blackboxing' until 1 December.

The rationale of the exhibition is printed on the wall at the entrance to the exhibition space. It says: "If the term blackboxing means to accept a function of an application but not a method(ology), what is it . . . both scientifically and socially . . . that compels us to peer inside blackboxes?"

What is it, indeed?

Indeed, what does it mean?

I peer inside.

There is a lot of black. One end of the room seems to be covered in black felt, with people sitting on a black bench, wearing headphones, watching a film on a screen set into the black wall (by Bea McMahon). In a far corner, people are looking at a large splash of black paint (by Garrett Phelan). Along the wall, people are having fun adding black stickers to a pattern (by Grace Weir).

There is also a computer monitor with the words "gatef gatef gate" scrolling down the screen and a box with the words anodyne information transfer" scrawled on it, surrounded by open musical instrument cases (by L Budd et al). There are lots of people wearing black, drinking bottles of Warsteiner.

(They are not an exhibition. This is the launch evening. ) At the entrance is a small shelf with books on it, and a sign that says they've been loaned by the artists for the public to read. They contain sentences like, "Phelan's practice encapsulates the anxiety of the archive."

The lobby of Project is full with more people in black (and some in shades of grey) drinking Warsteiner and white wine, and having a good time. There is a small bench and table by the main entrance, with a video playing on a screen and headphones beside it. On the screen, a Palestinian is talking about how his village's land was annexed to Jerusalem by the Israeli authorities, under the guise of planning regulations. This is 'What Everybody Knows'. Nobody is watching.