In 1965, a Korean-born artist named Nam June Paik walked into a cab in New York and filmed the traffic with a Sony Portapak, the first portable video recorder available to consumers. He showed the footage that same evening at the Cafe au Go Go in Greenwich Village. The tape was still wet from the recording heads. This is widely cited as the first work of video art, though Paik himself may have been more interested in the gesture than the footage. The point was that an artist had taken a piece of consumer electronics and used it to make something that belonged in a gallery, not on a television set.
Video art is art that uses video technology as its primary medium. It includes single-channel video (a video played on a monitor or projected), video installation (multiple monitors or projections arranged as a sculptural environment), closed-circuit works (live camera feeds shown on monitors in real time), and sculptural video (televisions modified or arranged as physical objects). Video art is not television, not cinema, and not documentary. It emerged in the 1960s as artists gained access to portable video equipment and began using the medium to explore time, perception, and the relationship between technology and the body. It became one of the major art forms of the late 20th century and remains central to contemporary art practice.
This entry covers what video art is, how it emerged from Fluxus and performance art, which artists defined it, and how a medium that was once dismissed as not-art became a fixture of major museums worldwide.
What Is Video Art?
Video art is visual art that uses video as its medium. The distinction between video art and other moving-image media is important. Cinema tells stories through narrative film. Television broadcasts programming to mass audiences. Video art does neither. A video artwork might show a static shot of a man's face for four minutes. It might loop a five-second clip of a woman scratching her arm. It might fill a room with thirty monitors, each showing a different image, creating a sculptural environment you walk through. The common thread is that the artist treats video as a material to be shaped, not a vehicle for delivering content.
The Tate defines video art as "art that involves the use of video technology and can involve the use of a video tape, video disc, or DVD, and may be a single channel or multi-channel work." Read more at Tate. MoMA's media and performance collection notes that video art emerged when artists "began to experiment with portable video equipment, using the medium to explore perception, the body, and the relationship between viewer and artwork." Read more at MoMA.
Video art overlaps with performance art, since many early video artists came from performance backgrounds and used video to document or extend their live work. It connects to digital art as technology evolved from analog tape to digital formats. It also relates to immersive art, as large-scale video projections have become a primary tool for creating environments that surround the viewer.
Origins and History
The Portapak and the First Wave (1965-1975)
The Sony Portapak, released in 1965, made video art possible. Before the Portapak, video equipment was large, expensive, and controlled by broadcast studios. The Portapak was portable, relatively affordable, and could record onto magnetic tape that could be played back immediately without processing. For the first time, an artist could record video in their studio and show it in a gallery the same day.
Nam June Paik is widely credited as the first video artist. He had been working with televisions since 1963, when he exhibited modified TV sets at the Galerie Parnass in Wuppertal, Germany, distorting their images with magnets. The 1965 Portapak recording in New York marked the shift from manipulating broadcast signals to creating original video content. Paik's early works include TV Bra for Living Sculpture (1969), in which cellist Charlotte Moorman wore two small television monitors as a bra while performing, and TV Garden (1974), an installation of televisions buried among live plants, each showing Paik's video collages.
Paik was part of the Fluxus movement, which shared Dada's anti-art attitude and emphasized the event over the object. Fluxus artists like Yoko Ono and George Brecht had already been creating performance scores and instructions. Video provided a new tool for this same impulse: art that was not a painting or a sculpture but a time-based experience.
Performance, the Body, and the Monitor (1970s)
In the 1970s, video art expanded in several directions. Performance artists used video to document and extend their work. Vito Acconci made Theme Song (1973), a video in which he lies on the floor, addressing the viewer directly through the camera, creating an uncomfortable intimacy. Joan Jonas created Vertical Roll (1972), a video that exploited a technical glitch in television transmission to create a jarring, fragmented self-portrait. Bruce Nauman made a series of video works in his studio, filming himself performing repetitive, absurd actions like pacing in a square or bouncing a ball.
These artists used video to explore the relationship between the camera and the body. The monitor became a frame for the artist's physical presence, and the viewer's relationship to that presence was different from watching a performer on stage. The video was intimate, close, and repeatable. You could watch it again and again, and each viewing was the same, unlike a live performance.
Video Installation and Narrative (1980s-1990s)
In the 1980s and 1990s, video art moved from single-monitor works to large-scale installations. Bill Viola began creating immersive video environments using multiple projections, surround sound, and architectural spaces. Dara Birnbaum used video to critique television and mass media, manipulating footage from broadcasts to expose their ideological structures. Tony Oursler projected video onto sculptures and dolls, giving moving faces to inanimate objects. Pierre Huyghe and Isaac Julien used video to create complex narrative works that blurred the line between video art and experimental cinema.
Digital Video and the Present (2000s-2026)
The transition from analog to digital video in the late 1990s and 2000s transformed the medium. Digital video was cheaper, higher quality, and easier to edit. Artists could create works with complex compositing, real-time processing, and interactive elements. The rise of projection mapping, LED walls, and high-definition displays expanded the scale of video installations dramatically.
In 2026, video art is firmly established in the museum world. The Nam June Paik Art Center in Yongin, South Korea, hosted the first Nam June Paik Media Art Festival in 2026, marking the 20th anniversary of the artist's death. The festival, titled "Nam June Paik's Planet," centered on works from the early 1990s and included a 5-meter-tall installation, The Voyager to Virtual Venus, shown in Korea for the first time. Read more at MK. Gagosian presented Nam June Paik: Rewind / Repeat at the APMA Cabinet in Seoul from April 1 to May 16, 2026, the first exhibition in twenty-five years presented by the Estate of Nam June Paik in his city of birth. Read more at Gagosian.
Bill Viola, who died in 2024, is the subject of multiple major exhibitions in 2026. The PSI Foundation in Cyprus presented Bill Viola. Unspoken from April 24 to August 1, 2026, featuring works including The Greeting (1995), The Dreamers (2013), Martyrs (2014), and Three Women (2008). Read more at PSI Foundation. The Almaty Museum of Arts in Kazakhstan opened Bill Viola: The Space of Time on July 1, 2026, the first major video art exhibition in Central Asia, featuring 18 works created between 1977 and 2013. Read more at The Astana Times.
Key Artists and Pioneers
Nam June Paik (1932-2006)
Paik is the father of video art. Born in Seoul, he studied music and art at the University of Tokyo before moving to West Germany in 1956, where he joined the Fluxus group. He relocated to New York in 1964. His work spans video sculpture, single-channel video, satellite broadcasts, and large-scale installations. TV Buddha (1974) shows a Buddha statue facing a monitor that displays a live video feed of the statue, creating an infinite loop of self-observation. The More the Better (1988), installed at the National Museum of Modern and Contemporary Art in Seoul, uses 1,003 monitors arranged in a 18-meter tower. Paik also created global satellite broadcasts, including Good Morning, Mr. Orwell (1984), which linked artists across continents in a live broadcast on New Year's Day.
Bill Viola (1951-2024)
Viola transformed video art from a medium of critique and experimentation into a medium of spiritual contemplation. His works are slow, large-scale, and visually lush, drawing on Zen Buddhism, Sufism, and Christian mysticism. The Reflecting Pool (1977-79) shows a man suspended in midair as he dives into a pool, while the surrounding landscape continues to change. The Crossing (1996) uses two side-by-side projections to show a figure being consumed by water and fire simultaneously. The Raft (2004) depicts a group of ordinary people struck by a torrent of water in extreme slow motion, transforming chaos into a meditation on vulnerability. Heaven and Earth (1992) places two monitors facing each other, one showing Viola's mother in her final days, the other showing his newborn son. Viola's work connects video art to the long history of painting and religious art, and his exhibitions at MoMA, the National Gallery in London, the Guggenheim Bilbao, and the Grand Palais in Paris drew crowds comparable to major painting retrospectives.
Joan Jonas (b. 1936)
Jonas is a pioneer of video performance and installation. Her early works, including Vertical Roll (1972) and Songdelay (1973), used video to explore the relationship between live performance, mediated image, and the female body. Jonas represented the United States at the Venice Biennale in 2015 with They Come to Us Without a Word, a multi-room installation combining video, objects, and performance. Her work bridges video art, performance art, and installation, and she has been a major influence on younger artists working across media.
Bruce Nauman (b. 1941)
Nauman used video to explore the body, space, and repetition. His early studio videos, made in 1967-1968, show him performing simple, absurd actions: pacing in a square, bouncing a ball, walking in a corridor. Mapping the Studio I (Fat Chance John Cage) (2001) uses infrared cameras to record his studio at night over several weeks, creating a seven-monitor installation that captures the mundane, slow passage of time. Nauman's video work is less about the image than about the relationship between the camera, the body, and the space of the studio.
Dara Birnbaum (b. 1946)
Birnbaum used video to critique television and mass media. Technology/Transformation: Wonder Woman (1978-79) takes footage from the television show Wonder Woman and manipulates it, repeating and fragmenting the transformation sequence to expose the ideological construction of female power in popular media. Birnbaum's work was among the first to use video as a tool for media critique, and it remains influential for artists working with found footage and appropriation.
Video art grew out of Fluxus and performance art, the movements that first broke down the boundary between art object and live event. It is closely related to digital art, as the transition from analog to digital video transformed the medium's possibilities. It connects to immersive art, since large-scale video projection has become a primary tool for creating environments that surround the viewer. It also relates to installation art, as many video works are designed as room-sized environments rather than single-screen pieces. For broader context, read our blog post on video art from Nam June Paik to modern screens, or explore our guide to digital art.
See Video Art in Person
Video art is best experienced in person, where the scale, sound, and spatial arrangement of the work can be felt. Major museums with significant video art collections include MoMA in New York, the Tate Modern in London, the Centre Pompidou in Paris, the ZKM Center for Art and Media in Karlsruhe, and the Nam June Paik Art Center in Yongin, South Korea.
In 2026, Bill Viola's work can be seen at the PSI Foundation in Cyprus (Unspoken, through August 1) and the Almaty Museum of Arts in Kazakhstan (The Space of Time, through January 17, 2027). Nam June Paik's work was featured at Gagosian's APMA Cabinet in Seoul and the Nam June Paik Art Center's media art festival. For more on the broader context of time-based art, read our entries on performance art and Fluxus, or explore our post on video art from Nam June Paik to modern screens.
