I was in first grade when Rhizome circulated its first email message to an intimate group of some of the first artists beginning to bring the internet into their practice. Seventeen years later, Rhizome has grown into a thriving non-profit, affiliated with New York’s New Museum. And what started out as a fringe art scene has matured into a thriving art practice along with digital culture at large, which has reached a point of saturation—so much so that the prefix has become unnecessary. In its production, distribution, and valuation contemporary art operates in a moment that is distinctly post-internet.
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