The Institutionalization of Video Art at the Museum of Modern Art.

This article focuses on the institutionalization of video art at the Museum of Modern Art (MoMA) in New York, emphasizing the pivotal role of the Rockefeller Foundation's study grants in the 1970s. It traces how MoMA, through curatorial efforts led by Barbara London and supported by artist Nam June Paik's advocacy, integrated video art into its exhibition and collection programs, thereby shaping the medium's museum status and curatorial practices. Key projects such as the 1968 exhibition *The Machine as Seen at the End of the Mechanical Age*, the 1974 conference *Open Circuits*, and the 1977 *Projects: Nam June Paik* exhibition illustrate the evolving institutional frameworks and challenges in presenting video art. The Rockefeller Foundation's funding not only enabled MoMA to acquire equipment and expand programming but also influenced the conceptual and public engagement parameters within which video art developed. This institutional history highlights the reciprocal relationship between philanthropic support and museum agendas in defining video art's place in contemporary art discourse.