Along the last sixty years, a complex body of works has been developed along the edge between art, science and technology. An increasing number of artists came up putting their hands on the new tools that technology placed at their disposal, trying to get in touch with engineers and scientists, collaborating with them, entering university labs as well as research and development centers. After a long preparation, this research literally boomed along the Nineties, when the increasing accessibility of new technologies and the development of a “digital culture” made it possible for it to acquire a critical mass of artists. Festivals and specialized art centers sprang up like mushrooms, and many books and magazines, investigating the present and documenting the past, have been published. A plenty of labels and critical paradigms have been forged in order to identify and describe this kind of research; then, in the late Nineties, the label “New Media Art” imposed itself upon the others. Yet, notwithstanding this flourishing, neither the label “New Media Art” nor the artistic practices it refers to were able to conquer the official art criticism or, more generally, the contemporary art world. Just a few works of New Media Art were able to enter the permanent collection of a museum, and even less were able to escape the limbo of the museum’s warehouses. New Media Art is more or less absent in the contemporary art market, as well as in mainstream art magazines; and recent accounts on contemporary art history completely forgot it. How can we explain this segregation? Why “official” art criticism and history have still so many difficulties in integrating the artistic research on new media technologies into their interpretation of the art history of the Twentieth century, even now that this research can be considered in all its historic relevance? Why the art market, that was able to greet video, installation and performance, is still unable to accept and distribute artworks based in software, hardware or computer networks? Why many artists are so intolerant of the very term “New Media Art”, and of any attempt to stress its diversity? Why, on the other side, other artists are so proud of this diversity? Why New Media Art pretends to be “different” from contemporary art, and yet proudly reclaims its relationship with contemporary art’s very same roots, the Avant-gardes? "Medium, New Media, Postmedia" is not just an attempt to explain the current status of the artistic research with new technologies, but also a militant endeavor to help it get the critical consideration it deserves; it’s not just a description of the present, but also an attempt to change the future, suggesting new critical and curatorial strategies.