A review of four shows in and about Chicago, including a video art exhibition. Curated by Ladies Home Video, the video art show emphasizes the collaborative nature of "videotech" works (74), not only because of the financial resources and technical knowledge pooled in their making, but in the cooperation of multiple artists as both subjects and audiences. The work are screened in pseudo-domestic spaces, complete with floral curtains and refreshments, creating an environment that pairs the technological with the comfortably homey. The author identifies the Chicago style of video art as frenetic in its engagement with the technical abilities of the medium, exploring oscillating images, time-lapse, and the relationship of person to machine, creating work that pushes television beyond its acceptable limits, eschewing the slick productions of other artists. The author praises Phil Morton's General Motors, which uses distorted footage of faulty GM products to address the frustrations of men living with machines.