Rachel Greene offers the reader a historical overview of net.art and briefly defined what it stood for “Net.art stood for communications and graphics, e-mail, texts, and images, referring to and merging into one another; it was artists, enthusiasts, and technoculture critics trading ideas, sustaining one another’s interest through ongoing dialogue”. It was important to establish the nature of net.art as placed at the intersection of a variety of different mediums, people and ideologies. Net.art was a phenomenon that began in the early 90s and Greene’s article explores its vast expansion since coupled with net.art’s potential impact upon the artistic community as artists communicate through an entirely new language.
Ultimately, Greene underlined the growth of this new artistic field “Net.art produced a very different vibe in 1999, as net.artists were seemingly empowered by their sense of pending popularity and relevance.” Increasingly, artists have used net.art as a medium to in similar ways that artists in the past have, but in more sophisticated ways such as the creation of Neomat which was constructed by New York-based artist Maciej Wisniewski. The Neomat software produces one-of-a-kind collages instead of the way normal search engines return Web pages. With it’s growing popularity, and the discovery of the freedom that comes with the internet comes multiple obstacles that artists need to overcome.