Su Rynard introduces Toronto's individualistic and diverse video art scene: its institutional operations and progression, its need for wider distribution and publicity, its usage of independent texts and need for larger production values. This is followed by contemporary examples of 1980s video art. Rynard describes 1986 and 1987 as "exciting years for independent video"; aware that larger production costs are not synonymous with better work, she believes increased financial support would nonetheless be conducive to the international expansion of Toronto's video artistry.