All these impermanent things

At one end of the permanence axis are digital works that fall into virtual sink holes when subterranean streams erode foundations (for example when cloud services go out of business); and the other end--sculptures like those of Richard Serra at the Guggenheim in Bilbao, potentially more permanent (or persistently stationary) than the buildings in which they are displayed. In 2000 years when the digital footprints fade, and we can't find any information on Frank Gehry or Richard Serra, one or both will still be standing, only to be left to wonder what is art and what is architecture.