Working collectively enables artists to realise ambitious film projects with complex projection set ups, such as multi-screen projections.

Although most 'expanded' film pieces created during the early 1970s were distinct to each artist, the realisation of Malcolm Le Grice's mix of performance, shadow play and projection in Horror Film 2 (1972), for example, or Gill Eatherley's multi-media Sicher Heits (1973) depended on the help of fellow artists. The artists who formed the collectively titled Housewatch produced an array of ambitious site specific projection events during the 1980s, taking cinema out onto the streets by screening onto rows of terraced houses with events such as Cinematic Architecture for Pedestrians (1985). Collectives such as Exploding Cinema and Omsk continue to present programmes of artists' film and video in unusual and unexpected spaces.