In this thesis, I explore the shifting paradigms of art production, ownership, and valuation in the aftermath of the digital revolution with a specific focus on the current and potential impact of blockchain technology and tokenization on these aspects of art. By investigating the dichotomy between traditional art forms and newer, digitized modes of art production and interpretation, I hope to provide a path to understanding what constitutes value of art in this day and age, and how the emergence of blockchain technology challenges the existing precedents and practices of art authenticity, cultural value and financial value. In order to achieve this, I will draw on theories of authenticity, ownership, and cultural enshrinement from the works of philosopher Walter Benjamin (1892-1940), art historian Andrea Phillips, cultural historian Christina von Braun, and artist/art researcher Sarah Friend, among others. With reference to Benjamin’s concept of “aura”, this enables me to question it in the digital age, the interdependence of art and money, and how the relationship between cultural and financial valuation may open doors for more egalitarian art markets and spheres for buyer and creator alike. This all provides me with a basis that will let me better understand if blockchains and non-fungible tokens (NFTs) can provide an answer to the contrasting desires for mass reproducibility and accessibility on the one hand, and the need for uniqueness, originality and meaning in contemporary art pieces on the other hand, and in doing so shed light on how the value of art is comprised.