Benglis turned to video in the 1970s. She provocatively explores the representation of women and inspires the feminist discourse. In Now, she evokes autoerotic and homoerotic moments, when she interacts before the camera with her own, previously recorded image on a monitor. Additionally, Benglis increases the confusion on the sound level. With performative-ironic gestures, Benglis reflects notions of the directness and authenticity of the audiovisual medium.