There is no doubt that VR can be used to make art, yet what sort of artistic resource VR is remains unsettled: is it a distinctive artistic medium (like painting or sculpture), or a material deployed across media (like chalk)? In this paper, we aim to map the artistic resources VR can have - both actually and in principle. We first distinguish between perfect versus imperfect VR (absence versus presence of perceptual awareness of mediation) and transparent versus opaque VR (causally anchored to actual scenes versus wholly synthetic worlds), producing a comprehensive logical space for VR’s possibilities and use this crossed framework to organise our analysis. Then, we first argue that VR can function both as an artistic medium and as an artistic material. Second, we show which artistic resources are afforded by imperfect and perfect VR respectively. Third, we propose a crossed taxonomy that organises VR’s artistic uses along three orthogonal axes: mode of use (VR as artistic medium versus VR as artistic material), phenomenology (perfect versus imperfect VR), and causal status (transparent versus opaque). VR, we conclude, is a strikingly multifaceted artistic resource.