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Time-based media (TBM) art is one of the most challenging genres of contemporary art when it comes to conservation. TBM works of art are typically constructed with short-lived information carriers, vulnerable data, and complicated and relatively unsustainable playback and display equipment and technologies. This chapter shows how in TBM conservation literature, initially the idea of a unique and relatively permanent art object was maintained, but with a diversified understanding of its authenticity. A next step was a radical shift of the criteria for the work’s authenticity through a reconceptualization of its ontology. The works’ technological, institutional, and legal environments have become a prime consideration in what could be called the “practice turn” or “ecological turn” in conservation thinking. Digitization demands a new ecological nexus “that transforms the institutional structures and logics upon which the museum has traditionally relied to produce the systems of boundaries and categories that have organized the modern aesthetic regime of art”.
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