In its infancy, digital art was, as artist and writer Anne M. Spalter enthusiastically put it, “up for grabs.” But how did women artists overcome the fallacy that computer technology was inherently masculine? And why did computing become a kind of sanctuary for some women artists? I will show that the indeterminacy and flux that permitted freer agency, was reflected in the computing field as a whole. Over time, anti-computer sentiment, which affected all artists using the medium, would prove so pervasive that it often eclipsed the sexism later suffered by women.