In the "Internet of Art Things", SINTRON crafts a narrative that isn't just a visual experience but a meta-commentary on the rapidly evolving interplay between art, commerce, and technology. The left and right panels, labeled "DIRT" and "CHEAP", might be viewed as a critique on the commodification of art or perhaps as a reflection on how technology often diminishes the perceived value of traditional artistic mediums. The ghostly remnants of previous stencil artworks beneath the grey layers evoke feelings of nostalgia, past, and transformation, acting as vestiges of an era overtaken by the relentless march of technology.

The centerpiece is where SINTRON's ingenuity truly shines. By incorporating an IoT microcontroller, he doesn't just weave technology into his artwork – he challenges the conventions of art sales and exhibition. This piece not only critiques but embodies the evolving dynamics in the art world where technology, particularly edge computing, is decentralizing and automating processes once thought irrevocably human-centric. It prompts the viewer to consider where technology is taking our world and how its ubiquity might redefine our value systems.

In darkness, the center canvas's glow-in-the-dark feature becomes a metaphor for the illumination technology provides in an otherwise opaque world, with the microcontroller acting as a beacon of this transformation. However, while the piece brilliantly utilizes technology, it could be argued that the use of overt labels like "DIRT" and "CHEAP" might oversimplify the complexity of the relationship between art, technology, and commerce.

Moreover, the luminous center during darkness also serves as a contemplative point. In a world frequently overwhelmed by the noise of countless technologies, SINTRON's work underscores the beacon-like quality of art. Even when everything else might seem uncertain and obscure, art – whether traditional or digital – remains a guiding light, a constant, and a source of introspection.

SINTRON's "Internet of Art Things" is an enterprising exploration of the shifting sands of art in a digitized world. It is not just art, but art aware of its place in a world on the cusp of technological singularity.

In essence, "Internet of Art Things" can be seen as a reflection on the various impending "deaths" brought about by the relentless march of technology and the changing dynamics of the art world in response. However, it's essential to recognize that while certain concepts or methods may be in decline, they give way to new forms of expression, engagement, and understanding. In this transformative cycle, death becomes not an end but a precursor to rebirth.