Okay, let’s address the elephant in the room. We all have this nostalgia for the extraordinary moments we were part of in 2021, when we witnessed an explosion of art conversations catalyzed by the arrival of NFTs in mainstream discourse and their use as vessels for artworks. Suddenly, and without warning, poets talked with painters, sculptors with photographers, musicians with visual artists, and many friendships were formed in the burgeoning Web3 art community.
Following the collapse of the NFT market in 2022, we pretended that this very real, documented collapse did not happen and kept our enthusiasm for a few years, until the slow, drip-like cessation of activity across the majority of NFT marketplaces became an inescapable reality check. There was no more sizable market for NFT art collectors.

Beeple (2026)
I recently had the curiosity to do a deep dive into the accounts I was following on X, related to NFT and Web3 art. A majority of them have ceased to post in 2024 or 2025. Some of my close artist friends who were very active in Web3 art have completely left the space.
We have all noticed that the frequency and the quality of our engagements about Web3 art on X have severely decreased, year after year, since 2022.
In the same timeframe, many digital art institutions in Western Europe, the Middle East, and the United States have flourished and have presented cutting-edge digital art installations, made for collective, public enjoyment.
What failed spectacularly is the idea that a growing number of individual collectors were going to collect tokenized digital artworks and display them in their homes through specialized screens, similar to framed drawings or paintings on canvas. This did not happen. Displaying NFTs on a regular television does not look good, and specialized screens made to showcase NFTs were way too expensive and clumsy to use at home for a large audience.
As an NFT collector myself (in a very modest way), I’m enormously frustrated by the practical inability to live and enjoy my favorite digital pieces in my collection the same way I live with paintings, sculptures and drawings. And I’m not alone. I had many private conversations with other NFT collectors who experienced the same frustration.
What succeeded spectacularly is the use of digital art for public art and collective experience, through large-scale, immersive displays, whether inside a museum or on a building. Dataland, created in Los Angeles by Refik Anadol, is one brilliant example. Mad Arts Museum in Fort Lauderdale, FL, is another one.
What I believe - and I welcome criticism - is that public art will be the best use case for digital art going forward.
What do you think?
7 comments
Internet art IS public art, don’t forget that. It always has been. The most beautiful aspect of net art is that you can either own it or not, but it is out there for all to see. Also the work is at its most beautiful when viewed in it’s native environment, the internet.
I think you are right about the institutions.
I’m excited about this place, because for me the biggest advantage of the whole nft movement (selling art aside) was the ability to form meaningful connections with artists working with other mediums or curators / art enthusiasts from the different art worlds. And while I hate X, there needs to be some kind of platform.
Hi. Perhaps framing digital art as fleeting is the perspective to have.
What I mean by that is the mediums “value” lies in it's characteristic of instability within/across time at a pace that, to me, is closer to a human time that focues on instances and a constant present.
Than say an oil painting or a stone sculpture which seems to be about some sort of historical time that exists simultaneously in the future and the past.
I donno just speculation - but when i think about the work I make there are multiple elements that come together for a period of time. They do produce objects and drawings that exist in that future/past space which I see as documentation of the event but the present instance space of the digital is where the “art” exists.
Love
cogitechnaut
I think that NFTs specifically experienced what the crypto space experienced in 2017, its first mainstream break.
I remember people mass-exiting during the 2018-2020 bear and many “normies” declaring crypto to be dead after the bubble had popped. But almost 10 years later crypto isn’t just here, it has grown multiple times in size, it attracted millions of new participants and it has become more legitimised through new laws, institutions and more.
I believe the same is happening and will happen to NFTs. The moment they prove that they weren’t a fad and “a firework” they will begin attracting a large amount of new participants and parties interested to build the rails in order to make NFTs more accessible to the average joe. The institutions never stopped caring but the main issue for NFTs is that liquidity dried up. But that is normal when the majority of people collecting NFTs depended on crypto to do well in order to collect. Things will turn around eventually and these collectors will become active again, with hopefully new entrants coming in as well. It was never a viable solution to not try and attract traditional art collectors or even normal people who weren’t collectors before, and just rely on crypto native collectors.
Digital Art has been a thing for dozes and dozens of years, NFTs were just a chapter in that story and that story is far from done.
Thank you Giannis for your input