‘BUILD THAT WALL’ (2016) A man goes to sleep and dreams that Mr. Trump has built an enormous wall splitting his town in half, complete with barbed wire, guards and checkpoints. Thankfully, the dream is just that, and the man awakens to find his town undivided.

To create this stop-motion short, the Australian director Gary Friedman wove together elements from a black-and-white documentary about the Berlin Wall, Mr. Trump’s own speeches (“if they call it the Trump wall, it has to be beautiful”) and a classic 1960 “Twilight Zone” episode about the dangers of Cold War paranoia (“The Monsters Are Due on Maple Street”). A puppeteer by trade, Mr. Friedman performed an anti-apartheid puppet show on the streets of South Africa from 1981 to 1987. “I used to get beaten up regularly,” he said. As for his latest project, he never figured when he was making the film last year in his Melbourne studio that Mr. Trump might win. “It was supposed to be a dream, a nightmare,” he said. “It wasn’t supposed to actually come true.” See the short here.

Museum Installations

‘ONE-WAY MIRROR’ (DENVER ART MUSEUM, THROUGH OCT. 22) In this work by the Denver-based artist Jaime Carrejo, a 10-foot scrim splits the gallery in two. Images of a Mexican sunrise are projected on one wall, an American sunset on the other; during rare moments, images from both sides of the border meld and collide in the middle. Find out more about the exhibition here.

‘BORDER CANTOS’ (CRYSTAL BRIDGES MUSEUM OF AMERICAN ART, BENTONVILLE, ARK., THROUGH MONDAY, APRIL 24) A collaboration of the photographer Richard Misrach and the composer Guillermo Galindo, “Border Cantos” documents the human effects of the walls in place now by examining the objects immigrants leave behind. Mr. Misrach captures images of castoff clothes and toys; Mr. Galindo creates musical instruments out of the jetsam, composing scores for them to accompany Mr. Misrach’s immense photos. Find out more about the exhibition here.

‘A VERY LONG LINE’ (Whitney Biennial 2017, through June 11) The collective Postcommodity (Raven Chacon, Cristobál Martínez and Kade L. Twist) placed a cameraman on the hood of its car and filmed while driving along the border. In the gallery installation, viewers are surrounded by four immense screens on which images are projected at varying speeds, as fences and homes rush by.

The title is a tongue-in-cheek nod to the art world’s pretentious titles, while also, Mr. Twist said, a pretty decent description of the border wall itself. “That’s one of the first things that pop into your mind,” he said. “‘That is a very, very long line.’” The filmmakers were also intrigued by the patchwork nature of the border barriers — impenetrable in some areas, simple pylons in others. The filmmakers shot from the American side, looking through the border wall’s iron bars to capture images of beautiful, middle-class neighborhoods in Mexico. Some viewers figured they had to be seeing neighborhoods in the United States, Mr. Martínez said. “People were like, wow, what a beautiful home,” Mr. Martínez said. “How could that be in somebody’s front yard?” he said, referring to the wall.