This article discusses what was remarkable about the film and video underground from the late 1960s through 1980s. The author argues that when beginning the process of working through a significant artistic change, like the movement from grayscale to colour in artists' video works, there is an overambitious temptation to speak in terms of the relations among technology, art practice, etc. There, in black and white, is the problem and its solutions are monochrome in the arrival of colour.