This thesis focuses on critical issues in the curation and exhibition of networked art, and proposes a curatorial methodology (net.cromancy) for experimental, participatory models in virtual exhibitions. Since 2005, a noticeable increase in hybrid (or alchemic) models of virtual and physical display have added to the increasing institutionalization and commodification of net art. These models contribute to connotations of net art exhibitions as embodied experiences, in which the physical gallery serves as the primary site of interaction and value production. Therefore, alchemic exhibition models neglect the possibility for critical social engagement to be accomplished in uniquely virtual terms. Using an interdisciplinary conceptual framework that incorporates aspects of site-specificity, media theory, political agonism and software curation, the author outlines and analyzes methods for creating an 'open', innovative and democratic virtual exhibition model through the integration of users, and the liberating potential of virtual critique.