The second component of the exhibition is dedicated to exploring how hybridity can be implemented within its design framework. To this end, we develop an augmented reality (AR) model of all central characters presented in the virtual exhibition and situate it virtually within the physical exhibition space— a room that functions both as a lunch area during the symposium and later as a venue for roundtable discussions. This integration of digital and physical elements is central to the exhibition’s conceptual and experiential layering.

Visitors are able to interact with both the virtual exhibition via computers and a physical display featuring printed artworks and QR codes. Scanning these codes activates AR renderings of the central avatars, thereby layering the digital within the tangible. Each of the four artists is allocated a physical zone, which they curate to reflect the narrative environment of their characters. As Allen notes in the discussion, this approach creates a meaningful synergy: “I had this nice little bit of synergy… This is where that belongs. It has its place in space, both on your phone and in real life” (Allen, 2025). For him, the physical context elevates the work, adding a material dimension that digital access alone cannot provide, though he also reflects on the logistical considerations and expectations tied to physical presentation.

The other artists express similar investment in hybrid exhibiting. Prashap Limbu, for instance, features printed versions of his avatars complemented by scannable AR elements. He emphasises the importance of experimentation and rejects rigid distinctions between digital and physical modes: “As artists we all love to experiment… People should still respect both. We should be focusing on experimenting and making the best product we possibly can” (Limbu, 2025). His comments underscore a desire for open-minded, cross-platform artistic practices that resist commercial or categorical constraints. Anna Buka also finds significant value in the hybrid approach, particularly through the use of AR. She describes the iterative process of scaling her avatar via QR-triggered projection until it achieves a lifelike presence: “I was glad to see that this thing, which seemed like the effort of so many different people… just to be able to include something of my own into that kind of space felt wow” (Buka, 2025). Although unable to realise her original idea of a staged, curtained installation, the physical corner dedicated to her work, augmented with AR, lends a palpable sense of reality and engagement. Gabriel Rodrigues reflects on the conceptual strength of combining physical and virtual displays: “I really liked the idea of how we had a virtual exhibition and a physical exhibition… It was really curious to see how a virtual exhibition would work out from a physical one” (Rodrigues, 2025). He highlights how this dual approach makes the exhibition accessible and engaging for all visitors, regardless of their familiarity with digital technology.

These conversations with the four artists reinforce the argument that hybridity is not merely beneficial but necessary for the exhibition of net art. It allows the work to be experienced in fluid, multi-layered contexts without losing its essential digital character. The challenge and achievement lie in integrating physical and digital elements in such a way that the net art does not become diminished or decontextualised, but rather transmuted into a new, coherent expressive form that honours its origins while expanding its reach.