In the 1980s, Matthew Geller switched his studio practice from primarily sculpture to the production of video works, reworking the structure and style of television storytelling with comic narratives that played off conventional genres—documentary, fairytale, melodrama. Employing fragmentation and disjunction as storytelling devices, Geller intercut several seemingly unrelated anecdotal stories into cohesive, if nonlinear, narratives. His focus on video culminated with a solo show From Receiver to Remote Control: The TV Set, at the New Museum in New York. Beginning with a fellowship at the American Academy in Rome, Geller integrated his skills as a storyteller and sculptor by creating intimate observed worlds in miniature. For the 15 years Geller has taken these ideas, expanded the scale, and extended the possibilities for site and a chaotic viewership by producing temporary and permanent public art.