The ‘new’ in new media art has caused handwringing in the capital A art world for about three decades; expert gatekeepers think long and hard about the criteria by which a select few works made with emerging technology (rather than within established mediums) make it into the white cube and bask in its limelight. A tough question lurks beyond ‘how do we display, collect, and preserve digital art?’ though. ‘What would a digital museum of digital art look like?’ is even more troublesome. Freed from material (polished concrete floors) and social (art selfie policies enforced by zealous docents) concerns, a digital museum could be pretty much anything: how exactly is it arranged spatially? What kind of works does it feature and what curatorial strategies does it engender? These dilemmas were explored with HTML in the 1990s, in Second Life in the ’00s, in smartphone and tablet augmented reality-enabled ‘overlay incursions’ into existing institutions quite recently – and now they are being reconsidered again in virtual reality.