it is, cannot be restricted to the ideological dimensions of the legitimate field of art, the institution of legitimation for art value, that is both ideological and economical . All for Sale by Aliona is an early net.art experiment addressing such issues. The WWWArt Award competition initiated by Alexei Shulgin in 1995 suggests rewarding found Internet works with what he calls an "art feeling." Some projects, such as Joachim Schmid's Archiv, Hybrids, or Copies by Eva & Franco Mattes (under the pseudonym of 0100101110101101.org), are examples of how to store art-related or documentary data on a website. Cloning, plagiarizing, and collective creation are provided as alternative answers, such as in the Refresh Project. Olia Lialina has addressed the issue of digital curating via her web platform Teleportacia.org, an online gallery to promote and sell net.art works. Each piece of net.art has its originality protected by a guarantee constituted by its URL, which acts as a barrier against reproducibility and/or forgery. Lialina claimed that this allowed the buyer of the piece to own it as they wished: controlling the location address as a means of controlling access to the piece. This attempt at giving net.art an economic identity and a legitimation within the art world was questioned even within the net.art sphere, though the project was often understood as a satire. On the other hand, Teo Spiller really sold a web art project Megatronix to Ljubljana Municipal Museum in May 1999, calling the whole project of selling the net.art.trade. Teleportacia.org became an ambiguous experiment on the notion of originality in the age of extreme digital reproduction and remix culture. The guarantee of originality protected by the URL was quickly challenged by Eva & Franco Mattes, who, under the pseudonym of 0100101110101101.org, cloned the content and produced an unauthorized mirror-site, showing the net.art works in the same context and the same quality as the original. The Last Real Net Art Museum is another example of Olia Lialina's attempt to deal with the issue. Online social networks experiments, such as the Poietic Generator, which existed before the net.art movement, was involved in it, and still exist after it, may show that the fashion scheme of net.art may have forgotten some deep theoretical questions. See also Digital culture History of the Internet Internet art Glitch art Net-poetry Surfing club References Bibliography Baranski Sandrine, La musique en réseau, une musique de la complexité ?, Éditions