This article examines how, in 1974, videotape was seen to have an overwhelming advantage over any other medium in relation to the university art programme. This advantage was due to the introduction of television equipment and tele-recording apparatus into the critical frame of reference of the art-context, which raises questions that are relevant to the whole of art. "Painting and sculpture are (a) still and (b) silent; video-tape moves and has a sound-track. Does that in any way affect the questions of its designation as art?" (289)