Natalie Stone's guest article explores the concept of networked art, particularly in the context of Ethereum. She emphasizes that creating art "with" a network, rather than simply on or about it, represents a significant shift in artistic practice. Traditional digital art often relied on centralized servers, leading to its disappearance when those servers shut down. In contrast, networked art leverages Ethereum's decentralized nature, allowing for a new form of consensus among participants that defines value and immortality in art. Stone highlights examples like Autoglyphs and CryptoPunks, illustrating how these projects push the boundaries of art and technology. Autoglyphs, for instance, run directly on the Ethereum blockchain, blurring the line between the artwork and its creation process. CryptoPunks, which emerged from just 246 lines of code, have become one of the most significant digital art phenomena, valued collectively at over $3 billion. Even major museums have begun acquiring these works, but Stone questions whether they fully grasp the implications of collecting art that exists within a living, participatory system. The article also raises important questions about preservation and stewardship in the age of networked art. As long as Ethereum operates, this art persists, maintained by collective agreement rather than individual ownership. Stone points to new initiatives like the Infinite NODE Foundation, which aims to visualize and support this emerging practice. The centerpiece, the ∞ETH NODE sculpture, transforms the Ethereum network's activity into a real-time artwork, making the underlying system visible and integral to the experience. This shift marks a significant evolution in how art is created, valued, and preserved in today's digital age.