Just, for example, presented a five-channel film installation, Intercourses
(2013), at the 2013 Venice Biennale. His exhibition featured a number of architectural interventions: Viewers could walk through rooms lit with bright-pink light and decorated with large potted shrubs, and see a crumbling wall. At this past year’s biennale, Arunanondchai presented his film with history in a room filled with people with funny names4
(2017) in a darkened gallery featuring a faux garden, eerily lit with green light. At ’s
exhibition at the New Museum
this past summer, viewers walked into what appeared to be a pearl jewelry–making workshop before entering a viewing room that screened a film, NoNoseKnows
(2015). By making such environments, each of these artists extends the cosmology of their projects, blurring the boundary between the on-screen fiction and the reality of the viewer’s surroundings. While this aesthetic strategy, as Just noted, may be rooted in philosophies of cinema, it also makes watching video art much more fun for the audience.