A review of the under-advertised but extensive video section of the 1984 Venice Biennale. The main building showed works by European artists that investigated themes of nostalgia for nature and surveillance, terrorism, and the pervasive media, while thirty well-known international artists were exhibited in an adjacent film. She focuses on the Belgian pavilion and the low-tech tape by Jan Fabre which "defuses the voyeurism"(20) of video in contrast to the prevalent obsession with video's intrusiveness.