The article critiques the exhibition of single-channel experimental film and video works in the gallery setting by examining the financial remuneration for artists who produce single-channel video and distribute their work through traditional nonprofit distributors, galleries and museums, and online video distribution platforms. Contrasting the fees that artists receive from traditional media distributors such as Vtape, and Electronic Arts Intermix with that of CARFAC's fee structure for video/film exhibition and installation within the gallery, the author suggests that there is a financial, rather than aesthetic impetus behind the current shift in exhibiting single-channel experimental film/video from screening in a theatre to exhibition within a gallery.

Drawing on theorists Gilles Deleuze, Henri Bergson and Gilbert Simondon to examine the viewer's experience within certain spaces, the author concludes that financial incentives should not be a factor in determining how the work will be experienced. Instead the author states that it should be determined by the artist if they want an ambulatory or still audience.