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The interpretation of any emerging form or period in art history was never a trivial task. However, in the case of digital art, technology, becoming an integral part, multiplied the complexity of describing, systematizing and evaluating it. This article investigates the most common metadata standards for the documentation of art as a broad category and suggests possible next steps toward an extended metadata standard for digital art.

Describing several techno-cultural phenomena formed in the last decade, manifesting the extendibility of digital art (its ability to be easily extended across multiple modalities), the article, at first, points to the long overdue need to re-evaluate the standards around it. Then it suggests a deeper analysis through a comparative study. In the scope of the study three artworks, The Arnolfini Portrait (Jan van Eyck), an iconic example of the early Renaissance, The World's First Collaborative Sentence (Douglas Davis), a classic example of early Internet art and Fake It Till You Make It (Maya Man), a prominent example of the blockchain art, are examined following the structure of the VRA Core 4.0 standard.

The comparative study demonstrates that digital art is more multi-semantic than traditional physical art, and requires new taxonomies as well as approaches for data acquisition.

Acknowledging that digital art simply has not yet evolved to the stage of being systematically collected by cultural institutions for documentation, curation and preservation, but otherwise, in the past few years, it has been at the front-center of social, economic and technological trends, the article suggests looking for hints on the future-proof extended metadata standard in some of those trends.