Counting its viewership in the millions, The Wrong just might be the world’s largest art biennale — the digital world’s answer to Venice. To visit, art lovers needn’t purchase a plane ticket, book a hotel or queue outside galleries: Admission requires only internet access. Now in its third edition, running through Jan. 31, The Wrong presents the work of some 1,500 creators who show across more than 100 online exhibition pavilions, with the field’s boldfaced names — such as Carla Gannis, a multimedia artist — alongside upstart talents like Pieter Jossa, a 3-D animator.

The Wrong’s founder, David Quiles Guilló, runs the festival from an off-grid home in Alicante, Spain, far from traditional art centers. Though intended as an alternative to the often elitist system of biennials and fairs, The Wrong seemingly operates by the tenets of older internet culture: It’s decentralized, accessible and democratic — anyone who wants to participate, as artist or curator, can apply.

Its organizers practice “instant radical inclusion,” a phrase coined by Mr. Quiles Guilló and The Wrong’s council member Patrick Lichty. “If you believe your art or your curating talent must be part of The Wrong,” Mr. Quiles Guilló said in a FaceTime interview, “then for us, it’s a must.” The festival accepts submissions of artwork and proposals for pavilions until its final day. “I’m not a specialist in digital art,” Mr. Quiles Guilló added. “I’m a specialist in making structures to support art.”

Christiane Paul, the adjunct curator of digital art at the Whitney Museum of American Art, has watched The Wrong since its birth in 2013 and worked with a number of its organizers and participants. (Some, including Elisa Giardina Papa, Marisa Olson and Lorna Mills, are in the Whitney’s collection.) Inclusive doesn’t mean unimportant. “Anyone interested in the field of digital art,” she said, “ought to pay attention to The Wrong.”