Whether online culture is more or less splintered than offline culture seems debatable. As for the dominance of commercial interests, etoy is only the most recent example. In a way, it is a two-edged activity. It is both a face-value recognition of the significance of net art and a museological device so that, in a sense, the Walker has the opportunity to collectively think about net art. What I mean is that individuals animate a program, but that exposing that program to the discussion of multiple points of view can both strengthen the program and, in the best situations, change what had heretofore been the consensual norm.
Passive ignorance becomes active repression.
So, I don't consider ada'web itself a collection of disparate projects, even though you can certainly distinguish between Vivian Selbo's Vertical Blanking Interval and Group Z's I Confess. It is not documenation of some other original. It is an original, an object, to use the traditional museological terminology, although it doesn't completely fit. At the same time, ada'web as a living, growing organism has stopped growing. It still has life, although this is more a testament to how it's put together than anything we've done, beyond continuing to host it and not locking it up in the vaults.