Over the course of two decades, the nascent field of internet-based practice has exploded into the mainstream and become ubiquitous. The internet is no longer a new medium but a mass medium that permeates every aspect of culture and society internationally. In light of this, what is the future for the field of art engaged with the internet? Will it continue to offer artists the opportunity to connect with publics directly, without relying on art institutions? How will the history of internet art continue to inform its future, given the problems of creating digital social memory? How will the web’s increased competition from locked-down applications change digital cultural production and distribution? What has internet art’s embrace by mainstream contemporary art and popular culture done to its form and visibility? Will there be such a thing as internet art ten years from now, or will all art created before the internet, as the artist Oliver Laric has suggested, simply be “pre-internet art”?