Media installations are works of art that situate moving-image media within specific scenarios, built structures, sites, or viewing environments. Since the 1960s, artists have been integrating media such as film, video, and slides with objects and sculptural elements. More recent installations incorporate digital moving images and computer-based interactive devices.

A multi-channel video installation consists of two or more display devices, such as monitors or projectors, used in the same work of art, in the same viewing space. The viewing space may be expanded to multiple monitors throughout an entire museum, or two projections situated side-by-side or overlapping. Multi-channel works range from classic early video pieces, such as Vito Acconci's Remote Control (1971), which includes two monitors and two video sources, to more recent works, such as Christian Marclay's Video Quartet (2002), a four-channel video projection.

It is typical for installations with two or more playback devices to be linked with a synchronizer, which ensures that all the programs begin, end, and repeat at appropriate intervals, prescribed by the artist. Synchronizers can also be incorporated into control systems, which are either stand-alone devices or computers that send the same pre-programmed commands a synchronizer can send, but can also be used to control lights, motorized screens, and other electronic elements depending on the installation. It is possible with some installations to have all of the video programs stored on a hard disc or computer-based device that also acts as the synchronizer. Audio for multi-channel installations ranges from mono, stereo, or multi-channel to 5.1 surround sound or a combination of configurations.

When exhibiting a media installation, it is important to obtain an equipment list that outlines what devices, if any, are supplied as part of the work. Display and/or playback devices may not be included. The specific playback and display equipment will depend on the media format provided with the installation. Equipment choices have an impact beyond the purely technical and should agree with the artists' intentions, as they impact the meaning and perception of the work. It is important to obtain equipment recommendations from the artist, gallery, or artist's representative in as much detail as possible in order to understand the equipment's function and how it applies to the installation. Proper selection, installation, and maintenance of video and audio equipment are critical, and exhibitors should consult qualified technicians where possible. Visit Equipment & Technical Issues for more information

It is important to determine what the minimum space requirements are and the specifications with regard to viewing conditions. Confirm that the space in which you plan to present the work is large enough for the intended scale, and that lighting conditions, walls, floors, ceilings, and other environmental factors are discussed with the artist prior to the acquisition and installation. Ambient light typically washes out projected images, and is usually of greatest concern at the entrance of the space. Light lock entrances or other solutions may be necessary. Painting, carpeting, and building-out of spaces may be necessary depending on the work. The lighting, carpet, paint and other elements are considered elements of the installation, and should be considered carefully and meet the specifications outlined by the artist or artist's representative.

The lines between these categories are becoming increasingly blurred. Single-channel video is more and more often being presented in installation environments and recent computer-based installations echo many characteristics of video installation. While these categories have some specificity, it is advisable to visit the Single-channel Video and Computer-based Arts sections of this guide as each contains relevant information to the other.

The media format one chooses for presenting multi-channel video works depends on a range of variables, including viewing context, exhibition environment, and the work itself. For example, a well-authored DVD is suitable for exhibition in a gallery or museum, primarily because of its ability to loop (that is, to continuously repeat content). DVDs should be made from source material on archival formats or uncompressed video files and authored by a knowledgeable professional. Please visit "Equipment & Technical Issues" for more detailed information.

Typically, exhibitors must enter into specific agreements or licenses that outline the terms, conditions and rights that are being extended for the use of a media art installation in an exhibition. Such agreements vary depending on the source of the installation (gallery or artist) and a range of factors such as venue, duration of exhibition, and whether the exhibition will tour to additional venues. Visit "Agreements and Contracts" for samples of these documents.

If you wish to tour your exhibition, you must negotiate a specific advance agreement with the artist or gallery, which outlines the terms and conditions of the tour. Visit "Agreements and Contracts" for samples of these documents.