Vierkant's Image Objects series similarly merges digital aesthetics with physical surfaces, using UV printing on shaped substrates to collapse the distinction between screen based imagery and material objects, directly paralleling Ito's exploration of virtual and painted surface.

Rozendaal translates the visual language of gradients, browser based color fields, and internet aesthetics onto linen canvases, sharing Ito's core strategy of lifting digital imagery into physical painting while preserving the playful and nostalgic mood of early web culture.

Rafman engages deeply with post internet culture, nostalgic digital interfaces, and the emotional residue of screensavers and early computer graphics, producing work that examines authorship and reproduction within networked visual culture in ways closely aligned with this specific piece.