The gap between the intense use of digital technology and a fundamental understanding of the transformations caused by these technologies is widening. With the increase of digitisation, old distinctions break down and new connections are possible. Responding to and developing concepts of materialism in digital art history, this paper argues that the question of materiality within the field should be approached philosophically, in two interconnected ways. Firstly, through a critique of a substantialist conception of materiality, drawing on Gilbert Simondon’s critique of hylomorphism and Yuk Hui’s concept of relational materialism. Secondly, situated within the concept of a technoecological sense as formulated by Erich Hörl, the notion of a shifting sense of meaning under the technological condition. Art under the technological condition, as digital art history must be seen, is often framed as art after nature. The relation between a digitised work and an analogue original should not be seen as an opposition between natural and artificial but rather as isomorphic to the relationship between nature and technology. According to Bernard Stiegler, this is not a dialectical relation, as nature is already technological. With Stiegler, I argue that any digitised artworks are remediations both in analogue/original and digital format. These remediations can be mapped and understood, with Hui, as the existential relations that constitute the image object, the digital art object. Digitised images are individuated through their relations, and should be situated accordingly. Aby Warburg’s Mnemosyne Atlas and the Closer to Van Eyck project are studied as practical examples.