Smalley similarly works at the intersection of digital processes and physical printmaking, producing inkjet based works that interrogate how images circulate and mutate through internet culture. His vibrant, computationally generated compositions share Ito's playful yet conceptually rigorous tension between screen based aesthetics and tangible art objects.

Vierkant is a central figure in post internet art whose Image Objects series directly parallels Ito's inquiry into reproduction, authenticity, and the commodification of digitally circulated images rendered as physical works. Both artists foreground the instability of the art object in an era of endless online image duplication.

Van den Dorpel bridges algorithmic generation and painterly output in ways that closely echo Ito's collapse of handmade and computer produced aesthetics. His work shares the same ironic self awareness about glitch culture, digital aesthetics, and the slippery boundary between authentic creation and automated reproduction.