In the universal, soilent-green art mush of the 21st century, video art has positioned itself as an irrefutable equal with other forms of contemporary art practice. Regardless of personal receptory abilities, sensitivity and affinity, even consumers of traditional fine art disciplines find, in the wide range of different video forms on offer, a sensation for their eyes only. Of course, television has greatly contributed to this fact, without which, quite certainly, video art and the development of this discipline would not be possible. Still, when we find ourselves face to face with works that represent video art, some issues inevitably arise. First, there is the objective problem of the physical perception of the work, and not just one work, but all which are presented, at, let’s say, a video exhibition… the audience makes its own selection within the offered one and is often governed by simple instinct or a reaction based on pure magnetic attraction.