The concept of “The Metaverse Art” may be understood as a trans-temporal and trans-spatial framework that traverses diverse cultural and disciplinary contexts worldwide. Within this framework, processes of encounter, overlap, integration, and transformation are continually enacted. Through the affordances of internet-based platforms and social media, audiences across the globe are able to engage directly and interactively with the Venice exhibition.

Crucially, this initiative must also be situated within the broader trajectory of art history. From the avant-garde experiments of the early 20th century—such as Dadaist provocations, Surrealist inquiries, and Fluxus performances—to the emergence of conceptual art and net art in the late 20th century, artistic practices have persistently sought to challenge institutional frameworks and expand the ontology of art beyond physical objects. The Annual Metaverse Art @Venice positions itself as a continuation of these genealogies, while simultaneously testing the possibilities afforded by digital decentralization and networked participation.

By adopting crowdfunding as a mode of resource mobilization and by structuring project management with a high degree of autonomy, the exhibition realizes a decentralized curatorial practice that resonates with historical attempts to democratize artistic production and dissemination. Furthermore, it establishes an operative linkage between the bounded physical sites of Venice and the theoretically unbounded virtualized spaces of the internet, creating a dialectic between material locality and immaterial globality.

This endeavor articulates a collective curatorial ethos encapsulated in the declaration:
“We curate thoughts through experiments.”