"Thank you, but making a Salon des Refusés 2002 is not exactly our intention. We have our Space: it is the internet itself, larger and a lot more powerful than the Whitney."
... an ambitious plan: to stage a net art show as an online foil to the 2002 Whitney Biennial. In time, the project developed into a full-on counter-exhibition, which would be hosted on the website whitneybiennial.com and installed IRL as a physical intervention, where a fleet of twenty-three U-Haul trucks, projecting artworks from the website, would blockade the Whitney Museum during the private opening reception of the Biennial.
His take on net art was quite particular; romanticizing Adobe Flash as a "creative bomb," Manetas was convinced that new internet art practices were emerging. If artists working in Flash were perhaps more readily overlooked by the museum sector because their chosen tool was associated with commercial culture...
With the advent of e-commerce websites, advertising and sales became evermore connected. Unsurprisingly, TLDs and Adobe Flash were key creative tools in online branding strategies. This new corporate aesthetic, where material commodities, previously displayed as physical merchandise in storefronts, became virtually represented online as immaterial objects, was evident as much in capital as in art, a reality for the Gap and the Whitney alike.