Firstly, let's examine this work purely as a pop art phenomenon.

When talking about pop art, it is very hard to look past the example set by Andy Warhol.  A pioneer of the mass production of art, Warhol opened up the world of the gallery to millions of viewers who would, otherwise, might have never experienced artistic culture.  In addition to this, the style of 64³² Spam Cans – Art Wants to be Free closely homages Warhol's repeated image style, notably his work Campbells Soup Cans.  64³² Spam Cans takes this movement a step further, as it is (for all practical intents) endlessly reproducible.

64³² Spam Cans clearly claims to have googols of unique works for free distribution, and how these might be valued remains to be seen.  It will also be very interesting indeed to see how the artistic community reacts to this aspect of the work.  Just how many versions wind up existing can only be the subject of speculation, of course; it depends on the levels of public interest in the work, the promotional techniques employed by the creator and – perhaps most importantly – on the fate of the work once the “digital original” has been sold.

There are also the implications of the thematic and mathematical underpinnings to consider.  On the one hand, the random nature of the artwork 'given' to each viewer and the number of works available make the likelihood of a double occurring very slim indeed.  This is doubly interesting when considered from the point of view of mass marketing, a theme close to the heart of the work.

Humanity is, collectively, bombarded by billions of advertisements per day. From television to radio, newspapers, billboards, and on practically every page of the Internet, unsolicited advertising and promotional material is being presented to us at such a rate that it borders on digital brainwashing. Showing no sign of letting up at any point in the foreseeable future, the eventual product of this mass-upon-mass of mass-marketing is a dystopian and nightmarish world where all human beings are reduced to the role of robotic consumers, endlessly following the orders given to them through all forms of media. 64³² Spam Cans comments on, and references, this trend in society.

Thus, to summarize, 64³² Spam Cans – Art Wants to be Free is a work which challenges many of our assumptions about art, art distribution and valuation. At the same time, it comments on not only  the Internet-based aspects of our society, but on the prevalent practice of unsolicited advertising which so dominates society and all forms of media. Finally, it represents a new way of promoting and selling original, digital art; an ironic outcome as it simultaneously strives to make art free.