In Wipe Cycle the anticipation of the viewers to experience the artwork is then seen by themselves, the act of their own viewing created a feedback loop and put into question their presence within the gallery space. The audiences reaction to seeing their digital image as the artwork becomes the subject. The role of the artist and viewer are switched where the artist is asking what the intent of the audience is in coming to view the work. 

This was one of the first video artworks to be shown in an exhibition called “TV as a creative Medium”. The fact that Wipe Cycle used non-consumer available technology enabled an illusionary aspect within the work which aided in the deconstruction of reality and provoked the audience into being mystified by their own image. The public’s perception of their self-image adapts to the technological advancements available, if an audience today were to see Wipe Cycle they would see it as a historical work because the closed-circuit camera technology (CCTV) that was used in the exhibition has since been normalized, thus the audience have a greater comprehension of the technology and familiarity with their digital image. The role of technology within video art is described by Anke Hervol in his essay ‘secrets are lies – privacy is theft – sharing is caring’, “The technological realization of these works was no longer questioned in the same way as it was when the works were created – although the individuals perception and the way the visitor engages in the installations has not changed today, the curiosity and therefore the intensity, of that emotional perception rose with the use of more contemporary technologies that the visitor could not comprehend at first glance”