Crypto art, NFT art, and blockchain-related art are increasingly conflated in mainstream narratives which obscure the technical differences and artistic intentions that underlie each. I’ve noticed how this misinterpretation dilutes the cultural significance of this digital art movement, especially following the explosive NFT hype of 2021.
This page provides a detailed framework for understanding crypto art, enabling researchers, curators, and enthusiasts to approach its evolution with clarity and context.
Introduction: Why Crypto Art Definitions Actually Matter
Crypto art acted as a catalyst and helped propel digital art into mainstream focus, particularly through art NFTs and collectibles. The growing academic attention and global search trends over recent years highlight this evolution.
NFTs began to dominate the narrative and frequently replaced and distorted the broader field crypto art. The NFT label is often misapplied, even in editorial and academic contexts, to digital art that lacks non-fungible characteristics. My historical documentation showcases a broad lineage of crypto-native art practices that existed long before the NFT hype. Art NFTs, therefore, are only one subset of a much larger cultural and conceptual field.
To facilitate comprehension, I’ll present this framework with visual examples, starting with a technical definitions which evolves it into a value-based approach. The goal is to build a shared vocabulary and vision for this decentralized art movement.
Origins of Crypto Art
The origins of crypto art are deeply intertwined with the ideological foundations of blockchain technology. As one of the co-authors of an early academic paper on crypto art (1) and a history researcher of the movement, I was invited to present on this subject at the Kunsthaus Zürich art museum in 2022. In that talk, I introduced crypto art not merely as a digital art form but as a values-driven movement: “The common denominator of the crypto art movement is the values more than aesthetics (2).” Crypto Art is rooted more in decentralization and digital sovereignty than in aesthetics.
The ideological foundation of crypto art can be traced back to the Cypherpunk movement, which originated in the pioneering work of cryptographers in the 1970s, such as Whitfield Diffie and Martin Hellman. Their vision attracted a network of thinkers concerned with how to leverage emerging technologies to resist censorship and technologically enabled surveillance. Notable figures like Tim Berners-Lee and Julian Assange (3) were advocating for systems that offer privacy to individuals and accountability to those in power.
When Bitcoin emerged in 2018, it resonated with the Cypherpunk community’s ideas, although the group already recognized that the privacy aspects did not go far enough (4). Values such as privacy, decentralization, and empowerment found their way into early blockchain startup white papers, often summarized into catchy crypto slogans like be your own bank or banking the unbanked.
While often criticized as mere lip service, these ideas fostered a shared belief system for the technology and the emerging digital art movement. As blockchain startups adopted these principles, so too did early crypto art platforms, advocating for the democratization of access, challenging institutional gatekeeping, and supporting the rise of the self-sovereign artist. To what extent they succeeded will be discussed in a later chapter.
Despite its relatively young history, Bitcoin and the underlying technology, the blockchain, have not fallen short of mysteries, legends, failures, and drama. From the enigmatic figure of Satoshi Nakamoto to the FBI’s takedown of the Silk Road marketplace and major crypto exchange scandals, the public’s perception often focused on risk and chaos. Many dismissed blockchain technology as too complex and irrelevant.
1st coin: 25 Bitcoin Casacius coin by Mike Caldwell (2011), 2nd coin: Doxxed For The Last Time by Anarcoins (2014), 3rd coin: Silk Road anonymous marketplace by Anonymous Mints (2014)
- Preprint published in 2019: Franceschet, Massimo; Colavizza, Giovanni; Smith, T’ai; Finucane, Blake; Ostachowski, Martin Lukas; Scalet, Sergio; Perkins, Jonathan; Morgan, James; Hernandez, Sebastian: Crypto Art: A Decentralized View. June 9th, 2019, arXiv: 1906.03263, https://arxiv.org/abs/1906.03263.
In 2021 an abbreviated version was published in the peer-reviewed Leonardo journal: Franceschet, Massimo; Colavizza, Giovanni; Smith, T’ai; Finucane, Blake; Ostachowski, Martin Lukas; Scalet, Sergio; Perkins, Jonathan; Morgan, James; Hernandez, Sebastian: Crypto Art: A Decentralized View. Leonardo Journal Vol. 54 Issue 4, MIT Press, August 9th, 2021: pp. 402–405 - You can watch my keynote at the Kunsthaus Zürich here.
- Tim Berners-Lee is an English computer scientist best known as the inventor of the World Wide Web, Julian Assange is an Australian publisher, activist and founder of WikiLeaks.
- Anderson, Patrick D. Cypherpunk Ethics: Radical Ethics for the Digital Age. Routledge, 2022: pp. 68–73.
- Ahonen, Jonas. Encyclopedia of Physical Bitcoins and Crypto-Currencies, Revised Edition. Cryptonumist, (2016): pp: 19-39
Crypto Art's History in a Nutshell
Crypto Art Definition Framework
In a 2019 position paper on crypto art, I defined crypto art as a digital art forum, an alternative marketplace, and a multidisciplinary collective. This early take was published in the ArXiv repository that same year and in an abbreviated form in the peer-reviewed Leonardo journal in 2021. Since then, I have continued working on refining the following definition models, tweaking and streamlining it to accommodate new developments.
Blockchain-related art is physical or digital art that uses blockchain as a subject matter or theme, for provenance purposes, as a payment method or as a technological base. While all crypto art and Art NFTs are blockchain-related, physical art with this proposed definition model does not fall into either of those two categories.
Crypto art is digital art that is conceptually fused to the blockchain. This could be in the form of fungible tokens, non-fungible tokens (NFTs), or artworks utilizing smart contracts or any other form of blockchain technology. Given this broad definition which accommodates significant early digital artworks that came before NFTs, I recommend using the term “crypto art” over “NFT art.”
NFTs are a natively digital medium for digital assets and can represent metaverse properties, wearables, collectibles, rights, in-game assets, and so many more things. Hence, NFTs don’t equal art, unless they also store it. Only when an NFT contains an artwork does it fall under Crypto Art. Considering NFTs as a mere native digital medium, calling digital artists “NFT artists” is comparable to calling them DVD or USB-stick artists.
Crypto Art ≠ NFT Art: Understanding the Cultural Divide
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Martin Lukas Ostachowski
or short MLO. I am a multidisciplinary artist, researcher and writer based in Tiohtià:ke (Montreal), Quebec, Canada.
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