> The inclusion of "surf clubs" in that list is another illustration of
> the contingent and contested nature of much online art history. Their
> baking in to it through institutional capture is a product of Rhizome's HR.
I have looked at your link, and find a discussion in one artist community about whether what happens in another online artist community is interesting or not. To understand how artists have used the Internet, especially for discussion, communication, sharing, and collaboration one should not be picky when collecting data imo.
I think it is especially interesting to include more recent examples in this thread, because they give us an idea of how online artist networks have developed. Besides that, one cannot really understand certain offline art practices (round and about Post-Internet Art) without looking at surf clubs.