nos, and noisemakers:
At the exhibition, Joseph Beuys improvised an action in which he attacked one of Paik's pianos with an axe. This was the first exhibition of Paik's prepared televisions and marks the incorporation of this medium into his art making.
Later that year, Paik went to Japan and met an electronics expert who introduced him to Shuya Abe, and the two collaborated on ways to transform the video image.
Video art began making significant inroads in exhibitions and broadcast television alike in 1969, with Paik leading the way by organizing projects and exhibitions. He continued this over the next seven years. He was invited in 1969 to be artist-in-residence at the Experimental Workshop established by the Rockefeller foundation at Boston Public Television. A PBS program that year--The Medium Is the Medium--included Paik's Electronic Opera No. 1. Paik premiered his TV Bra for Living Sculpture at the Howard Wise Gallery and participated in a number of other performances and festivals. He produced a four-hour live broadcast for WGBH in 1970 under the title Video Commune, and he served that year as instructor in a program at the California Institute of the Arts in Los Angeles. He continued to produce exhibitions and extend the reach of video art.
As noted, Paik was first drawn to the use of video in a musical context, and "it was the random quality o
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