The present selection shows mo­nochannel, installation and/ or sculptural work produced in Spain by video artists during the last five years or more. This selection principle precluded the presence of émigrés or artists who moved into commercial production, as well as those working only sporadically with video and newcomers to the medium. Over the last five years, the final crossover from artistic to commercial production became a standard occurrence in the Spanish video scene. Amongst its other implications, this transition can be taken as symptomatic of the problems that video artists face. On the one hand, there is an information backlog compared to international standards and by disinterest from cultural decision-makers (evident in the absence of financial and logistic support for training, production and distribution as well as the isolated presentation forums). On the other hand, the communication in their creative field is disjointed, there is very little coordination. These deficiencies have obstructed the growth of an appropriate infrastructure, and are reflected in the refusal to recognize video art and its protagonists, resulting in a status of "non-existence". The rare exceptions are limited to local in­ itiatives, sporadic mega hap­penings and exhibitions imported from abroad. The artists on display are exceptional cases, therefore, "survivors" in an apathetic environment who continue to produce monochannel tapes (Alvarez, Pardo, Saiaberria), video sculptures (Pueyo) and installations (Exposito, Her­ gueta, Ruiz de Infante). Recognition of their work has come primarily from outside Spain. Maria Pallier. In Spain, computer animation was first used as a means of artistic expression in the pioneer work “Menina", which grew out of a sponsored cultural technology project in 1986 - a short time after the establishment of the first commercially-oriented and computer-based post-production studio in Barcelona (Anima­ tica, 1984) . From that time onward, there was basically a split-level development in computer animation. On one level, you have the small group of independent artists experimenting and producing material on their own equipment (mostly Amiga machines). Ignacio Pardo, who began by integrating computer animation in his video artworks and more recently has been producing solely on Amiga, must be mentioned first in this context. The other level is occupied by the production firms based mainly in Madrid and Barcelona and operating, with some exceptions, solely in the commercial sector. They number 50 at present, and some of them have already proved their international competitivity. Since the early 90s, moreover, computer animation has been on the curricula of more than 10 universities (incl. Universidad de las Islas Baleares, del Pais Vasco) and the same number of non-graduate public education institutions (incl. C.I.N.T. - Victoria Gasteiz, Institu­ to de Formación - Madrid) as well as being taught by a small number of private colleges. The inclusion of the new technologies has opened them up to an incomparably larger public.Iñaki Perez. Byrta Myrkur; Sombras de cal; La noche navegable (Fragment); Evidentemente un espejismo; El placer; Les choses simples; Tierra prometida; Frame o la rueda de la fortuna; Curial e Güelfa; Santa Sevilla; El Naufrag; Ampolla; Contorsionista; María Muñoz; Teleplastia; Transito; Antipoda; Carne viva; En torno a Gernika; Menina; Time; Epigrama; Barnasaurus; Laberint; Espejismo; Va por ustedes; El idioma español; Love Story