In the article "A Genealogy of Video", Paul Ryan, based on "the rude memory of the conflict itself" as a participant, focuses on the struggle of video in New York City between 1968 and 1971 over whether it would be considered a tool of social change or a medium of art. (39) Ryan traces the genealogy of video's initial phase in terms of six dimensions: technological, theoretical, political, institutional, economic, and cultural. Ryan concludes and asks how video will articulate its own genealogy having mutated from a countercultural gesture to an art genre.