Text written for the book Media Art. Toward a New Defnition of Art in the Age of Technology (Gli Ori, Pistoia 2015), edited by Valentino Catricalà and published on the occasion of the Media Art Festival in Rome (February 25 – March 1, 2015). Situating Post Internet Domenico Quaranta I Writing about post internet art from an art history perspective looks pretty much like an impossible task at present. Either we are still trapped in the storm of comments, opinions and debates that blew up when this proposed art label turned into a successful art meme, or we are hot on its heels. On October 30, 2014, art critic Brian Droitcour published a text [1] in Art in America that could be described, tongue in cheek, as the post internet version of an earlier, widely debated blog post [2]: more elegant, less personal, and written for a respected art magazine for the sake of quotes, just as post internet art is made for the white cube for the sake of pics. According to Droitcour, “a sheaf of essays grappling with the meaning of “Post-Internet” by tracing a genealogy from Olson onward would not suffice to describe what Post-Internet has become: a term to market art.” For him, post internet is an embarrassing yet useful new entry in artspeak, describing an “art made for its own installation shots”; an art that “does to art what porn does to sex – renders it lurid”, “a self-styled avant-garde that's all about putting art back in the rarefied space of the gallery”, [3] incapable of criticism and that only uses the internet as a promotional tool. From this perspective, post internet art is nothing but an opportunistic, reactionary trend in the context of a formerly radical art practice – net art – now embraced by the contemporary art world as a way to make any artwork that claims to be aware of the current means of creation and distribution irresistibly fashionable and cool.