piece, "Facing a Family" (1971) was one of the first instances of television intervention and broadcasting video art. The video, originally broadcast on the Austrian television program "Kontakte" February 2, 1971,[11] shows a bourgeois Austrian family watching TV while eating dinner, creating a mirroring effect for many members of the audience who were doing the same thing. Export believed the television could complicate the relationship between subject, spectator, and television. In the United Kingdom David Hall's "TV Interruptions" (1971) were transmitted intentionally unannounced and uncredited on Scottish TV, the first artist interventions on British television. 1980s-1990s As the prices of editing software decreased, the access the general public had to utilize these technologies increased. Video editing software became so readily available that it changed the way artists worked with the medium. Simulteanously, with the arrival of independent televisions in Europe and the emergence of video clips, artists also used the potential of special effects, high quality images and sophisticated editing (Gary Hill, Bill Viola). Festivals dedicated to video art such as the World Wide Video festival in The Hague, the Biennale de l'Image in Geneva or Ars Electronica in Linz developed and underlined the importance of creation in this field. Shortly thereafter. From the beginning of the 90's, contemporary art exhibitions integrate artists' videos among other works and installations. This is the case of the Venice Biennale (Aperto 93) and of NowHere at the Louisiana Museum, but also of art galleries where a new generation of artists for whom the arrival of lighter equipment such as Handycams favored a more direct expression. Artists such as Pipilotti Rist, Tony Oursler, Carsten Höller, Cheryl Donegan, Nelson Sullivan were able, as others in the 1960s, to leave their studios easily to film by hand without sophistication, sometimes mixing found images with their own (Douglas Gordon, Pierre Bismuth, Sylvie Fleury, Johan Grimonprez, Claude Closky) and using a present but simple post-production. The presentation of the works was also simplified with the arrival of monitors in the exhibition rooms and distribution in VHS. The arrival of this younger generation announced the feminist and gender issues to come, but also the increasingly hybrid use of different media (transferred super 8 films, 16mm, digital editing, TV show excerpts, sounds from different sources, etc). At the same time, museums and institutions more specialized in video art were integrating digital technology, such as the ZKM in Karlsruhe, directed by