The paper deals with recent video art that employs panoramic imaging in order to reflect critically upon contemporary media society where panoramic strategies are used to create sensations of immersion, seamless fusion with the virtual, and total control. The aim of the paper is then to reveal the panoramic strategies in recent art and to show how they serve to imitate and to counter both the panorama of the 19th century and it’s virtual actualizations of the late 20th century.