Ken Goldberg's Ouija 2000, created this year, and the collective Fakeshop's self-titled site, created from 1997-present, both incorporate live action -- in very different ways.

The playful, interactive Ouija 2000 allows visitors to the site to control the planchette of a real Ouija board via remote, by moving their computer's mouse, while watching a live feed of the board onscreen. Fakeshop presents recorded images, amidst innovative graphic design, from live performances of the artists who make up the collective, and a live event is scheduled to take place during the course of the Biennial. (Check the Museum's home page for details.)

Playing with the reader's perception of reality are Lew Baldwin's Redsmoke, created in 1995, and the collective RTMark's self-titled site, created from 1997-present. Redsmoke, which consists of a series of hip, textless animations accompanied by electronic music written by Baldwin, began as a fictitious promotional tool for an imaginary rock band. And RTMark's irreverent site is a parody of a corporate Web site offering such bizarre "services" such as Llama delivery.

On the more abstract end are Ben Benjamin's Superbad, created in 1997, and John F. Simon's Every Icon, created from 1995 to the present. Superbad, which Benjamin updates daily, is a design-heavy showcase for random animations and short texts culled from popular culture ranging from heavy metal music to politics.

On the geekier end, Every Icon features a Java applet that attempts to create within a grid of 32-by-32 small squares every possible combination of black and white squares -- which supposedly would take several hundred trillion years to complete.

Part documentary and part multimedia poem, Annette Weintraub's 1999 website Sampling Broadway features video shots of New York's well-known thoroughfare. Panoramic shots of pedestrians amidst skyscrapers are accompanied with comparisons of Manhattan to Pompeii or lines such as "the looming boxes deliberately block out the sky" streaming across the screen.

"Being chosen for the Biennial gives my work a stamp of approval," said John F. Simon. "Internet art is very new, and I appreciate the curators' ability to recognize the different ways there are for artists to express themselves. It's interesting how there is a lot of video installation in this year's show, which would seem so new only ten years ago. But media art already seems like it's part of the canon."

Organized by a national team of six curators -- Michael Auping of the Modern Art Museum of Fort Worth, Valerie Cassel of the Art Institute of Chicago, Hugh M. Davies of the Museum of Contemporary Art in San Diego, Jane Farver of the List Visual Arts Center at MIT, Lawrence R. Rinder of the California College of Arts and Crafts, and independent curator Andrea Miller-Keller -- this year's Biennial is the 70th in the series of Annuals and Biennials inaugurated by the museum's founder, Gertrude Vanderbilt Whitney, in 1932.

The nine Internet artists are among 97 artists chosen for the exhibition. More traditional media such as painting, sculpture, installation, and photography will be shown, as well as film and video.