This paper presents research on the current state of the field of digital art history. It provides an assessment of research methods and writing strategies for monographs and classifies online digital art databases as sources of knowledge for historiographical research according to their mission and development policy. The author, recognizing that the artifacts and remnants of digital art history are continuously collected in a database format, formulates several theses: : the preference of the database format is an expression of the postmodern crisis of grand narratives, the database is a dominant cultural form of computer age, and the multilateral access to the content of the databases is in accordance with countercultural and ant-institutional ethos of the field of digital art. In the last part of the paper, examples of innovative approaches to filling, organizing, and making accessible the content of digital art databases are surveyed and sorted and the author proposes paths for further development of the field based on the findings. Inspiration is recognized in methods complementary to database formats, which are developed within the field of digital humanities such as distant reading, data visualizations, pattern recognition, and in AI Art projects addressing the status of archive and database at a time when all data becomes the subject of endless remix.