Rutherford Chang's artistic practice fundamentally questions how individuality emerges within standardized systems. His comprehensive projects—'We Buy White Albums,' 'The Class of 2008,' and 'CENTS'—demonstrate this concept by amassing thousands of seemingly identical objects and revealing their unique histories. Each item tells a story of preservation and personal transformation through time and human touch.

What makes Chang's work particularly relevant to digital-age preservation is his exploration of value across physical and virtual square spaces. By extending his archival methodology into blockchain inscription, he interrogates how we preserve meaning in mass-produced culture. His approach transforms preservation from a museum function into a community-driven conversation in the cultural square, challenging viewers to recognize individuality not as resistance to mass production, but as its inevitable byproduct. In this framework, both tangible artifacts and their digital preservation become statements about authenticity in an age of replication.