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Today, hybrid forms of reality coexist and overlap in techniques like augmented or mixed reality and open new avenues of perception. The gaze of the user is absorbed; the whole body is involved in an immersive corporeal (multisensory) experience. The expanded field of sculpture has also been impacted by digital technologies since the 1960s, such as CNC technology, VR, or 3D scans and prints, although an art history of digital sculpture is still developing. My paper aims to discuss what terminology in art history corresponds to these works, given their postmedium condition and infrastructural accessibility, their various materiali-ties, immateriality or rather neomateriality (Christiane Paul), their aesthetic limit (Ernst Michalski), and in-teractive features, including real-time processes. Following the paradigm of the sculptural in the expanded field and by using artistic examples, among others Herbert W. Franke, Jeffrey Shaw, Banz & Bowinkel, and Morehshin Allahyari, I like to ask how media-specific parameters, such as truth to materials, scalability, and site-specificity, are altered when sculptures circulate as files online and can be printed in different sizes. What ontological status do such computer-aided works possess that can be experienced physically and virtually?
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