Since 1965, video has had a place within the realm of visual art, and since then it has developed into one of the most widely used forms of art. After its successful introduction in the United States, Europe followed at some distance. The Netherlands played a pioneering role in this, especially with regard to the establishment of facilitated workplaces of this new art form, with internationally renowned institutions such as Het Lijnbaanscentrum, the Jan van Eijck Akademie, MonteVideo and De Appel. The video art circuit that emerged in the Netherlands consisted and still consists of an idiosyncratic cross-pollination of local and international trends. In the period from the early 1970s to the mid-1980s, the new medium steadily matured. Artists discover the creative possibilities of video, experiment with its documentary eloquence, but have to defend their choice for it against the art world, which does not yet seem to be attuned to this new form of art. The slow integration of new, simpler and cheaper editing techniques into the production process eventually paved the way for video art to assimilate into the art world: since the 1990s, video art has manifested itself as a matter of course within the visual-art domain.