From Wikipedia:

Nam June Paik (July 20, 1932 – January 29, 2006) was a Korean American artist. He worked with a variety of media and is considered to be the founder of video art. He is credited with an early usage (1974) of the term "electronic super highway" in application to telecommunications.

From Theartstory.org:

Nam June Paik, known as "the father of video art," surfed the forefront of cutting edge technologies and utilized them to realize artworks, the likes the world had never yet seen. His various experiments positioned video as a viable art form, and a tool toward accomplishing widespread, global connectivity - an oeuvre eerily prophetic to our contemporary information age. His revolutionary practice laid the groundwork for today's artists working in new media art.

From Theartstory.org:

After Paik's departure from Germany and before his arrival in the United States in 1964, he spent a year in Tokyo with his family where he met Shuya Abe, an engineer specialized in experimental physics and electronics, who became Paik's long-term collaborator and technical assistant. During the sojourn in Japan, Paik devised his first automated robot, Robot K-456, with Abe's help. Paik humorously named this life-sized anthropomorphic robot after Mozart's piano concerto No. 18 in B-flat major, K. 456 (a catalogue number in the Köchel listing - an inclusive, chronological catalogue of compositions by Mozart). Robot K-456 is made out of bits and pieces of metal, cloth, a data recorder, wheels for walking, and a loudspeaker playing John F. Kennedy's speeches. The materials reflect Paik's long-term interest in transforming cheap, disposable objects into aesthetic forms associated with new technologies. Originally androgynous - with breasts and a penis, the robot was programmed to walk, talk, and defecate beans via twenty radio channels and a remote control. Its physical composition, hybrid-gendered nature, and remote-controlled movement embody Paik's desire to humanize robotics without hiding its bare-bone structure and materiality under the glossy metallic skin.

Robot K-456 was built for impromptu street performances, as Paik recounted, "I imagined it would meet people on the street and give them a split-second surprise, like a sudden show." It was first featured in the performance project Robot Opera (1964) at Judson Hall in New York, alongside Charlotte Moorman's cello performance, and in a series of performance-based projects through the end of the 1960s. In 1982, the robot returned to action during the artist's first major museum exhibition at the Whitney Museum of American Art. At one point of the exhibition, Paik took the robot out of the museum to orchestrate an "accident" on the streets, a performance titled First Accident of the Twenty-First Century. The robot was made to walk up the sidewalk outside the building across Madison Avenue. While crossing 75th Street, it was struck and thrown onto the crosswalk by a car driven by artist William Anastasi. The local CBS affiliate covered the incident. When the CBS reporter asked Paik what it all meant, Paik answered that he was practicing how to cope with the catastrophe of technology in the 21st century. He also noted that the robot was twenty years old and had not had its Bar Mitzvah (the Jewish coming-of-age ceremony) yet. Playful and extravagant, the performance concluded with the "body" of the robot being wheeled into the museum. This street performance demonstrated that Paik did not see his artworks as inert and complete but rather as "living" objects that could be constantly remade and refashioned.

The hybrid, complex nature of Robot K-456, with its unexpected juxtaposition of visual materials, sounds, performances, and popular culture, embodied Paik's foresight into the future of robotics. He was also revolutionary because he claimed robotics as a viable medium for use in multimedia art, triumphantly declaring the potential for artistic innovation through technological means. Throughout his career, Paik would adamantly advocate that the artist's duty was to reimagine technology in the service of art and culture.

transmediale is a yearly Berlin-based festival and cultural organization that facilitates critical reflection on and interventions into processes of cultural transformation from a post-digital perspective. In the course of its more than 30 year history, the transmediale/festival has turned into an essential event in the calendar of media art professionals, artists, activists, and students from all over the world. [1]

Annually it presents an extensive range of exhibitions, conferences, screenings, performances, and publications to more than 25,000 visitors. In bringing together artists, researchers, activists, and thinkers, transmediale offers new perspectives and approaches on how the digital and a general technological condition has become a factor of influence in practically all spheres of life. The broad cultural appeal of the festival is recognized by the German federal government who supports the transmediale through its program for beacons of contemporary culture. [1]

Since 2011, transmediale’s all-year activities include cooperation projects, networking activities, the Vilém Flusser Residency for Artistic Research, and special events. These activities provide a sustainable structure of feedback, research, and reflection that interacts with the annual festival. As part of this endeavor, the transmediale journal launched in 2016, providing a platform for ongoing reflections, reactions, and discussions in many different forms. [1]

From Whitney:

As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum's key resource. The Museum's signature exhibition, the Biennial, is the country's leading survey of the most recent developments in American art.

Innovation has been a hallmark of the Whitney since its beginnings. It was the first museum dedicated to the work of living American artists and the first New York museum to present a major exhibition of a video artist (Nam June Paik in 1982). Such figures as Jasper Johns, Cy Twombly, and Cindy Sherman were given their first museum retrospectives by the Whitney. The Museum has consistently purchased works within the year they were created, often well before the artists became broadly recognized. The Whitney was the first museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the first museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.

Designed by architect Renzo Piano and situated between the High Line and the Hudson River, the Whitney's new building vastly increases the Museum’s exhibition and programming space, providing the most expansive view ever of its unsurpassed collection of modern and contemporary American art.