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The second and more important way out is through the contents of the actual pieces. One way is through easy accessibility for display once you acquire these works that are created for the iPad, you can just carry them around with you. Well, this exhibition brings good news: It shows a twofold pathway out of digital art's marginal status.

Now we usually express disinterest in more Seinfeld-schooled ways, such as the qualified 'not that there's anything wrong with that.' And digital art is still regarded as a separate category, rather like photography was in its earlier days, meaning that it has its own devoted galleries, museum departments, exhibitions, historians, etc. Maybe scorn is too strong a word how about 'relegate,' which means almost the same thing in this world.

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After the PC desktop revolution (the 1980s), artists still had to learn certain kinds of geeky 'non-artistic' technical skills. In the early days (the 1960s) digital artists had to ingratiate themselves with the research labs of large corporations that were among the few owners of the bulky and expensive equipment. The art world has a history of scorning digital art, often because it has been seen as a product of a pact with the devil.

The New Ludics in Today's Digital Art by Patrick Frank

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