However, the realities pointed out by the article on the state of collectors sensibilities is on the money.
Collectors do seem to require some tangible form of property to collect.
Despite the efforts of many 60's and 70's based conceptual artists, they all eventually bled back into the gallery, for the reality of food, bills, and rent are tantamount. I agree that some iris prints are stretching the notion of digital work. Chuck Close's show of iris prints last fall in uptown Manhattan were beautiful, but indistiguishable from large format photographs. The Whitney Biennial has a bunch of interactive pieces incorporating video, sound etc. She had plasma gizmos that not only responded to touch but interacted with each other.