The history of Colombian video art is a fragmented story and always in the process of creation. It is not something staggered in which the works are arranged in an orderly manner but an irregular route. From this premise, this book is presented as a critical anthology, neither too narrow in perspectives nor too pretentious, but broad enough to encompass a plurality and disparity of practices, including some contributions from pioneering figures. The book comprises texts on the videographic work of Miguel Ángel Cárdenas, Raúl Marroquín, Jonier Marín, Ana Claudia Múnera, Omaira Abadía, Santiago Echeverry and Rodrigo Facundo, investigating references, forms and strategies shared through different aesthetics and techniques ranging from video mail, video paintings, videographic happening or video performance, video installations and video sculptures. Additionally, reviewing the work of these artists allows us to trace some of the fundamental themes of contemporary Colombian art, such as memory, identity, sexuality, history, politics, etc.