without the museum, and to consider it impossible to combine with the search for new social contexts, as in the case of the debates around context art, art as a service, ambient works for clubs, etc., in the 1990s. Media art settled precisely on this fault line. One of the most complex and earliest examples of this were the activities of the «Experiments in Art and Technology» association. It thrived mainly on the collaboration of engineers and artists; Billy Klüver and Robert Rauschenberg were the group's most active mentors and driving forces. Their credo can be summed up in the statement that the emergence of new artistic activity is only possible as part of a dialogue between technicians and artists, industry and art. They followed this insight in a whole series of remarkable and historically influential projects and events; these were not by definition directed against the museum as a location for art, but took place in locations that were de facto external to the art context. The most lucid example of this was the industrial arena par excellence, the World's Fair, as can be seen most clearly in the famous Pepsi Pavilion.[10] The artistic director of the pavilion, Robert Breer,

promised a completely new set of sensual perceptions: «We're making a serious attempt to isolate the senses and create new relationships between them. While entertaining the visitors, we hope to give them a profound physiological experience that will make them more aware of the world around them.»[11]

Nineteen sixty-eight not only stood for a paradigm shift in political and social terms.[12] At this time, events can be seen not only in relation to the mass media,[13] but also in the performative and visual arts, as combined by Gene Youngblood in «Expanded Cinema;» Bruce Nauman showed his first videotape in the Nicholas Wilder Gallery in Los Angeles in 1968, the gallery owner Howard Wise presented his first media exhibition «TV as a Creative Medium» in New York, and Jasia Reichardt organized the «Cybernetic Serendipity » exhibition at the ICA in London.

But 1968 also saw the first attempt at presenting media projects and experiments–not everyone wanted to use the word ‹art›–in a broad overview: the «E.A.T.» group's «Some More Beginnings.» This was also crucially the site of linking two different modes of presentation, as some jury-assessed objects and works were being