Mary Stofflet's article focuses on the development of video art from the late sixties until 1982, with a focus on video art production in California. She discusses the challenges of overcoming the early inclination to "democratize" video art, and the development of narrative and documentary video pieces as separate from installation pieces, video documented performance art, and "video incorporated into performance art"(Stofflet, 76) She describes this development partially as a transformation from installation pieces which mimic sculpture to works which "approximate if not achieve broadcast quality" (Stofflet, 77). Budget cutbacks in the early 1980's led to a lack of "art related viewing spaces," (Stofflet, 76), which Stofflet sees as speeding the development of video art in California. She describes a trend in video art of producing political or entertainment based works, and provides examples of each. She also addresses the difficulty of defining video art, and predicts some of its possible future characteristics.