A meditative review of two video art exhibits which delve into the idea of video art rather than the pieces on display. For the author, there is a paradox in the obscurity of video art in view of the omnipresence of television, and irony in the fact that video, which tears down the boundaries of art, can be found primarily in museums. Video problematizes art as a category, and the author contends that video is a symbol of change and a challenge to how we see. Video plays with and refutes the interlocked hegemonies of art and capital. In the author's more concrete review of the Créteil show, he insists that video is used to explore concepts, especially those of identity, and as a record of performance, rather than valued for its aesthetics. He discusses the forays of community arts centres into video production, exhibition, and local distribution.