I found very interesting, what Beral Madra said in her posting, that the most useful thing about Internet will be - or is already - that the "curator will be able to observe the production process of the artist's work and the artist will be able to follow the research and interpretations of the curator" and this could prevent "'disastrous' misinterpretations of the work". Regarding this point I would like to add the possibility Internet could offer to curators to get additional information of the context in which the work is being created.
For instance if I want to deal with a piece created in Singapore, the availability of information such as "Looking at culture" could make a difference in my understanding of it.
"Looking at culture" [http://www.happening.com.sg/commentary/index.html] is the on-line version of an issue of "Commentary" which the National University of Singapore Society suspended in 1994, for fear of offending the government. For instance in "Liberating Creativity" Tay Kheng Soon writes about the challenges and problems of art in Singapore, a country where the emphasis is on schooling, discipline and conformity.
Of similar relevance is the on-line copy of a document handed out to groups seeking to organize public events or performances, where one can see how constrained the performing arts are in Singapore. "Licensing Conditions for Drama Performing / Concerts" [http://www.nusantara.com/seart/PELU.html]
Of course this is all related to availability of Internet information. Regarding this I find Olu Oguibe's remarks about the Internet being a "most fragile and unreliable reliquary for information" an extremely important issue to consider. I hope we can discuss here how we could increase the availability of "fall-backs and alternatives for important bodies of information" and how we can increase availability of relevant information at all.