Not only are computer-based works largely missing from histories of twentieth-century art, it is often hard to avoid the impression that blatant ignorance (as well as, sometimes, nonchalance) about the past reigns even among the artists, gallerists, and critics promoting such art today. One may always claim, of course, that digital art is still a newcomer yet to be embraced by the art world, but there is a considerable body of works, ideas, and theories that has been largely neglected by art curricula, critical discourses, and dominant institutions alike. As a consequence, contemporary digital