In 1975, the Museo de Arte Contemporáneo of Caracas organized the exhibition Arte de video [Video Art], the first exhibition of video art in Venezuela, which brought together international individual and collective artists, representative of this new genre: Stephen Beck, Nam June Paik, Charlotte Moorman, Bill Etra, Juan Downey, and Allan Kaprow, among many others. Margarita D’Amico, author of the introductory text for the catalogue, represented Venezuela, and along with José Ignacio Cadavieso organized the show, which was originally curated by Gerd Stern and Douglas Davis. The text, as well as the exhibition, is a declaration of this new artistic terrain. Nearly using the tone of a manifesto, D’Amico declares that electronic art fuses art and life through its broad potential for dissemination and manipulation. In the same manner, the text specifies that these new experiences are bound to creative and receptive processes: wherein an action becomes a work, displacing traditional categories such as “obra original” [original work] as well as “documentación visual” [visual documentation]. Another relevant aspect is the review of the technical precursors of video art; this allows for an appreciation of the rapid progression between a technological advance and its application as an aesthetic experience. This show in Caracas was, without doubt, a milestone in what would come to be known as the precursors of video art, video-sculpture, and digital art within the country; their first advocates would begin championing them immediately after [the exhibition].