Lopes (2010) offers an account of computer art, which he argues is a new art form. Part of what makes computer art distinctive, according to Lopes, is its interactivity, a quality found in few non-computer artworks. Given the rise in prominence of such artworks, most notably videogames, they are surely worthy of philosophical inquiry. I believe their ontology and properties are particularly worthy of study, as an understanding of these will prove crucial to critical understanding and evaluation of the works themselves. Lopes' account of interactive art is novel and important, but flawed, and in this essay I will discuss its flaws and suggest a better account of the properties of interactive art that builds on his work, providing a partial account of the ontology of interactive art. In Section 1, I discuss Lopes' definition and ontology of interactive art; in Section 2, I argue that he only accounts for the properties of displays, neglecting the properties of interactive artworks themselves. In Section 3, I discuss several possible solutions for Lopes and why they are inadequate before Section 4 presents my view, that interactive artworks possess all of the properties of their varying displays because each possible display is part of the artwork. This is compatible with Lopes' definition of interactive art, and so much of his account can be preserved, but with a refined account of the properties of interactive artworks. What I present is by no means a complete ontological study of interactive art, but hopefully lays the groundwork for future work on this ontology.