At Large  September 17, 2025  Annah Otis

What Is the Future of NFTs and Digital Art?

WikiCommons

Digital artwork by Mike Winkelmann showing a giant white and orange torus with greebles in a barren landscape that also features a tree and a man approaching the torus. One of the images used in Everydays: The First 5000 Days by Mike Winkelmann (known professionally as Beeple). License

The impending closure of Christie’s digital art department and the reduction in staff working on NFT sales at other auction houses during the past year calls into question the future of once-astronomically-priced blockchain assets. Four years ago, Christie’s sold Everydays: The First 5000 Days by American digital artist Beeple for a record-setting $69.3 million. Since then, NFT sales have plummeted, and the share of collectors buying digital art has dropped from 17% in 2022 to 9% in 2024.

Statista estimates that the total NFT market will reach just over $504 million in 2025. This is quite a meager number considering that The Merge by Pak sold for $91.8 million in December 2021. Granted, it was the most expensive piece of digital art to ever hit the market and was purchased by not one buyer, but several thousand. 

WikiCommons

Christie’s, Manhattan, New York. License

This is part of the appeal: highly valuable art that can be bought in shares and made accessible to the broader collecting public. Buyers are often able to access better deals on NFTs than art sold at auction or in galleries, because artists can cut out the middleman and sell directly online. Unlike a traditional painting or sculpture, the blockchain code within each NFT holds an unchangeable record of its transaction history, so its provenance is much easier to trace than other artworks.

These benefits may be why NFT sales have not completely disappeared after the post-COVID bubble. In fact, some galleries are betting on the resurgence of digital art generally. Adam Heft Beringer’s Heft Gallery on the Lower East Side in New York City launched this past spring to accommodate artists whose work includes generative code, scanners, machine learning, and other “systems.” The online marketplace SuperRare introduced a brick-and-mortar gallery, Offline, whose first public exhibition opened in July. It included 15 artists whose work at least partially leverages digital tools.

WikiCommons

Dome shaped buildings in a green landscape with little vegetation. Digital artwork by Beeple. License

In both of these cases, physical gallery space acts as a community-building mechanism, in addition to a profit-building one. Heft Gallery and Offline position themselves as creator-first ventures interested in expanding the definition of digital art to encompass much more than just NFTs. The rise of commercially available, large language models has created many more opportunities for artists to ideate and execute their visual work. As acceptance for AI-generated content in the corporate world expands, it is only natural that the same would eventually happen in the art world. Only time will tell if the market follows.

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