Essay examines how five artists—Bruce Nauman, Nam June Paik, Dan Graham, Bill Viola, and Gary Hill—use video time in site-specific installations; discussed works include Nauman's Corridor Installation (1970), Paik's TV Buddha (1974), Graham's Present Continuous Past(s) (1974), Viola's Decay Time (1974), and Hill's Suspension of Disbelief (for Marinne) (1992). It traces the emergence of video art to the mid-1960s Portapak and situates artists' temporal experiments alongside ideas from Clement Greenberg, Einstein, Husserl, and William James; technologies cited include Portapak cameras, monitors/rasters, strobes, hidden cameras, and computer-controlled switching.