Building upon Walter Benjamin's essay The Work of Art in the Age of Mechanical Reproduction (1935), this presentation argues that in the age of instantaneous effortless ability and availability of reproduction NFTs there is an ongoing attempt of validating digital art as equal to traditional art while remaining digital by primary nature. On one hand, the blockchain distribution applied on a form of digital art is a way of setting its presence in time and space of a sort (Benjamin's 'aura'). On the other hand, the nature of setting the here-and-now presence of a piece of a digital art by listing on a public ledger, designed to validate and record monetary transactions of a digital (crypto) currency by default creates an economic value of said piece of art. Said value is completely detached from its cost of production and is entirely market based (i.e. speculative). The fall of NFTs' popularity could be treated as equivalent of the notion of decay of the said aura, in place of the physical decay of a traditional piece of art. NFTs can also be viewed as a form of fetishizing ownership in context of one's ability to identify desire in visual objects, i.e. in art's cult value of just existing and being possessed, not in art's exhibition value of being perceived by others.