Nam June Paik (1932–2006) brought the television to fine art, treating it as a tactile and multisensory medium and object. Trained as a classical pianist, he came into contact with protagonists of the counterculture and avant-garde movements of the 1960s through his early interests in composition and performance, and this engagement profoundly shaped his outlook at a time when electronic images were becoming increasingly present in everyday life. A pioneering figure in the development of video art, Paik embraced new technologies as material parts of his repertoire, which later included satellite transmissions and lasers. In Bakelite Robot (2002), he gave animate expression to his robot sculpture by enlivening its anthropomorphic body with six LCD television monitors featuring video displays. Produced at a time when cell phone technologies first accommodated built-in cameras, Paik’s sculpture anticipates the current fluidity between the human body and technological apparatuses, which will presumably continue to evolve into the future.