This article includes the introduction to the catalogue for the exhibition Canada Video, which was presented in conjunction with the Venice Biennial. The introduction examines how video work in Canada has been locked between the museum system and broadcasting, most frequently seen and critically analyzed by its own adherents in the confines of alternative art centres and journals. The main text of the article regards the videotapes by Colin Campbell included in the exhibition and examines how his works investigate the ambiguity of image and audio information in the television format.