The quality of computer-generated images continues to improve, and programs used to create computer graphics evolves at a rapid rate. Walter Benjamin, in his landmark essay Art in the Age of Mechanical Reproduction addressed the notion of artworks that were not necessarily finite in number. He was primarily addressing advanced printmaking, silkscreen, and photographic technologies. Essentially, he hadn't seen anything yet. This has proven to be a commodity that the art world has not yet quite figured out how to market appropriately.
Digital art is a part of everyday life now, in the form of advertisments and many other media.
What separates digital art from other forms of art is that it is simply code. This code will perfectly replicate each and every time it is called upon. Unlike a lithograph or silkscreen, it does not deteriorate with use and thus no added value is assigned to early numbers in an edition. There is no distinction between form, copy, or simulacra in digital art, as each is exactly the same. Since the piece is infinate in number, and art markets depend on the limiting of any edition to produce value, all digital art is inherently worthless unless artificially controlled.