"In the 21st century, the use of artificial intelligence has expanded outside of the fields ofscience and technology and into the field of the creative arts. The use of generative AI hasdivided artists since its emergence. However, artists willing to embrace new technology in theirpractice have had positive results incorporating AI technology into their work. Refik Anadol, aself-proclaimed AI and “data artist”, incorporates artificial intelligence into his large-scale AIinstallations. Anadol’s series Machine Hallucinations, uses a generative adversarial network withan adaptive discriminator and an original latent space browser program in order to transform amassive visual dataset into what the artist refers to as a “data painting”: a form of AI artwork.Using Anadol’s series as a case study, this dissertation will explore the idea of AI-generatedartwork becoming its own medium of art. The notions of creativity and originality are critical inthe discourse of AI-generated artwork. The scientific and artistic communities have differentnotions of what it means to be creative. Whether or not the artist or the machine is responsiblefor the aspect of originality in an AI-generative work relies heavily on the intention of theartwork and the agency of the author. This question of originality is further exacerbated by theinability to copyright AI-generated work in most countries due to a lack of judicial precedent onthe topic. In another manner, the perception of AI by the general public stands to also be adecisive factor in AI becoming a recognized medium of art. However, the critical issues in thediscourse of AI becoming its own medium, such as image appropriation, the reliance oncomputer technology, and the notion of creativity, bear some resemblance to the issues faced bythe mixed-media, photography, and video mediums in their emergence. This dissertation aims toaddress these critical issues that stand in the way of AI becoming a recognized medium of art." -- Prodided by the Author.