After applying to what he thought was a position as a museum guard, Ippolito was hired in the curatorial department of the Guggenheim, where in 1993 he curated Virtual Reality: An Emerging Medium and subsequent exhibitions that explore the intersection of contemporary art and new media.
Ippolito and collaborators, including Bell, Blais, and Owen Smith, developed The Pool, an online project design workspace noted by the Chronicle of Higher Education as a "new avenue for new-media scholars to do their jobs."
In place of the single-artist, single-artwork paradigm favored by the overwhelming majority of documentation systems, The Pool stimulates collaboration in a variety of forms, including multi-author, asynchronous, and cross-medium projects.
[4] Additional projects include MARCEL, a permanent high band-width network for artistic experimentation, and the Maine Intellectual Commons Web site, helping to establish standards for creative and scholarly research that contribute to a culture of sharing.
"[5] The authors examine the preservation of new media art from both practical and theoretical perspectives, offering concrete examples that range from Nam June Paik to Danger Mouse.
They investigate three threats to twenty-first century creativity: technology, because much new media art depends on rapidly changing software or hardware; institutions, which may rely on old-media preservation methods; and law, which complicates access with intellectual property constraints such as copyright and licensing.