The example of MoMa (the Museum of Modern Art) in New York using video screenings in the gallery:

Term used to describe art that uses both the apparatus and processes of television and video. It can take many forms: recordings that are broadcast, viewed in galleries or other venues, or distributed as tapes or discs; sculptural installations, which may incorporate one or more television receivers or monitors, displaying ‘live’ or recorded images and sound; and performances in which video representations are included. Occasionally, artists have devised events to be broadcast ‘live’ by cable, terrestrial or satellite transmission.

During the 1980s video art established its own context of production, exhibition and criticism, with organizations emerging in North America and western Europe to support and promote ‘video culture’. Television producers began to buy and commission work from artists, and specialist venues, festivals, courses and workshops for video proliferated. Many artists made work addressing social, sexual and racial issues, renewing links with what survived of the ‘community video’ movement of the 1970s. By 1990 video installations had featured in several large international exhibitions and were a familiar presence in galleries and museums, assuming fresh authority through the work of such artists as Gary Hill ( ) and marie-jo Lafontaine. Artists making single-screen work exhibited increasingly on television, and the medium of video was merging with that of the computer. Video art, no longer novel nor wholly dependent on a gallery context, had become part of an increasingly elaborate network of electronic communication.

Source:

Hartney, M. (2009). Video Art. Oxford University Press

Retrieved from: http://www.moma.org/collection/theme.php?theme_id=10215