Just over three years ago, I wrote an essay for Afterimage on current trends in artists' video ("Video Art: Dead or Alive?," Afterimage 24, no. 3). It seemed that during the late 1980s and early 1990s many videomakers, programmers, grant-providers and media librarians had managed changes in the financial climate of the art world, public and private philanthropy and university budgets by turning away from single-channel video as an obscure and unprofitable art form. Still, rumors of the death of video art were greatly exaggerated. On the contrary, a look at a flurry of critical attention to video art, and to the recent use of video by artists, suggested that it was under close scrutiny and evolving in response to a complex set of aesthetic interests, technological developments and restructured opportunities for exhibition.http://www.findarticles.com/p/articles/mi_m2479/is_5_27/ai_61535391