In this article, Allan Kaprow criticizes the myth of experimentation that surrounds video art, postulating that the vast majority of it contains merely old ideas in new packaging. He objects to the treatment of tape-based art as collectibles, saleable in editions and watched as chic home movies. In installation-based art that is not necessarily recorded on tapes, he finds more room for experimentation, but laments that often artists become seduced by the technology itself at the expense of conceptual thought.