From the Museum of Glitch Aesthetics catalog:

Whereas it's true that the avant-garde artists and writers of the 20th century served a variety of artistic, social and political purposes, The Artist 2.0 is historically canonized in the Museum of Glitch Aesthetics as a collaborative and pseudonymous creative force whose collective body of works, though limited in number, have been able to employ networked and mobile media communication strategies unavailable to the artist's radical predecessors. According to online curator and performance artist Margot Kittler, the main aesthetic strategy of The Artist 2.0 is to create “an alternative dream world of inclusion where a utopian collective, comprised of networks of like-minded artists and intellectuals, use all available new media technologies to intervene in and/or disrupt global capitalist flows.” The fictional personae who drive the energetic activity that powers these networks often turn to what Kittler refers to as “glitch aesthetics” as a way to undermine “the predictable protocols of exclusion” found in the upmarket commodity culture generally associated with the art market. According to Kittler, “artists like 2.0 are on an aesthetic mission to disrupt mainstream perceptions of how these art market venues stage faux objective standards in determining the aesthetic value of a work of art.”

“These creatively inclined hacker networks, particularly those that operate over Internet and mobile media protocols,” Kittler writes, “work against this idea of scarcity and challenge us to rethink the Benjaminian concept of ‘aura’ as something to be measured vis-à-vis sharing and the collaborative remixing of source material instead of focusing on the unique art object located in a specific space and time.”

“The works brought together in the Museum of Glitch Aesthetics are conceptual, glitchy, beautiful, pedagogical, humorous, and at times political reflections on the role that networked and mobile media communication systems play in today's digital culture. The Artist 2.0's unique trajectory through network-mediated art history includes works of digital photography, animation, Net art, digital video, live performance, installation, electronic music and spoken word art, mobile phone films, 3D game design, and conceptual writing. This body of work is now internationally acknowledged as a large-scale transmedia hack and the continuous transmission of conceptual personae throughout the digital networks indicates the artist's desire to critique an elitist art market that goes out of its way to acknowledge both the appeal and seduction of accumulating artworks that are canonized in the annals of art history.”

–from “Portrait of the Artist as a Live Remix” (included in the MOGA catalog)