In late 2012, the Metropolitan Museum held an exhibition called Regarding Warhol: Sixty Artists, Fifty Years, which included a ton of interesting contemporary pieces such as Ai Weiwei's Neolithic Vase with Coca-Cola Logo (2010) and Andy Warhol's Silver Clouds (1966). The piece I was happiest and most surprised to see, however, was Cory Arcangel's Super Mario Clouds (2002). To create this piece, Cory modified an original Super Mario Bros. video game to remove everything but the background and clouds.

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Ryan Kittleson is a tech-friendly artist living in Brooklyn, New York, whose 3D models have been used in animations at Disney World and Sea World, as well as the renowned display windows at Sak's Fifth Avenue. Originally a self-taught digital-graphics artist, Ryan has served on the faculty of Full Sail University teaching character modeling, and continues to provide educational resources focused on the wonders of digital sculpture through Lynda.com.

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Fellow Google Glass Explorer Gretchen Andrus Andrew—a London-based artist and former Google employee—first contacted me via Twitter last October. She was aware of the Met's experimentation with Google Glass after reading my first post for Digital Underground, and was interested in meeting here at the Museum while she was visiting New York.

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It should come as no surprise at this point that I'm interested in digital modeling and 3D printing; I like the idea that objects in the Met's collection can be used as inspiration and raw material for new works. For that reason, when I recognized a model of a Met object at 3D Notion, a recent exhibition of 3D-printed works at the Bruce High Quality Foundation University, I was immediately intrigued.

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The 2013 production The Fuentidueña Apse: A Journey from Castile to New York was screened in Spain on November 27 as part of FICAB XIII, the 13th International Film Festival of the Bidasoa. The documentary explains how the twelfth-century Romanesque apse was dismantled in 1957 from the church of San Martín in Fuentidueña, north of Madrid, transported to New York, and installed at The Cloisters between 1958 and 1961. Christopher Noey directed and produced this 28-minute documentary and I was its editor; many people within Digital Media and across the Museum contributed to the project.

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As I discussed in my first Digital Underground post, my Met colleagues do a lot of terrific digital and multimedia work. In an effort to get more attention to some of this work, I occasionally do interviews with the press. Recently, I was a guest on "Conversations in the Digital Age with Jim Zirin," a show that looks at "how the Internet is transforming the global landscape."

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In 1937, for the very first time at the Museum, the Christmas spirit "received unusually graphic representation," according to The Metropolitan Museum of Art Bulletin (December 1937). A small exhibition from December 19, 1937, through January 2, 1938, featured The Christmas Story in Art: The Nativity, the Adoration of the Shepherds, the Adoration of the Magi, and the Flight into Egypt as illustrated in forty paintings, prints, drawings, sculptures, and decorative arts chosen from the Museum's collection.

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At the Met, we've been experimenting with ways that museum visitors can use 3D scanning, hacking, and printing to enhance their experience of works of art. In light of our recent explorations, we caught up with Jonathan Monaghan, a creative technologist who participated in our 3D Hackathon back in 2012, to ask him some questions about one of the works he created that weekend and about his work with 3D printing and CGI animation.

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Each week this year, our web series 82nd & Fifth has brought you a little deeper into the world of the Met. In the close to ninety episodes we've posted so far, you've gotten to hear Museum curators talk about works of art that changed the way they see the world. We've produced a short video to give you a behind-the-scenes look at how our team of editors, producers, and photographers creates each two-minute episode.

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