Walter Benjamin talked about this problem in 1935 [0]. It's particularly an issue with photography as an art form. For instance Jeff Wall's masters are all stored as RAW digital files and displayed as light boxes [1]. Theoretically he could produce an unlimited number of editions of each work, and theoretically anyone working at a record label who had received a copy of the hq file could do the same [2].
What prevents this and maintains the value of the work is that there are legal and social norms enforced through a vast network of institutions (galleries, museums, collectors, art fairs) that ensure that there will never be more than 1 actual edition of the work, or 2 or 3, whatever it is the number never changes after it is set, and minting more editions would be professional suicide, and the network of institutions would never allow or recognize it even if an artist tried it.
Lawrence Lessig's book Code developed the argument that any combination of social norms, legal structures/enforcement, and code or infrastructure can function as law, and sanction or foster certain behaviour and markets. "Code is law" was a clever observation and a bit of a revelation, but the NFT crowd seem to believe that it's enough or that it has more value than the social norms and contract law of the existing art world. It's engineering mindset hubris.
There's an attempt now to work social norms into the NFT space and enforce etiquette around "right-clicking", but convincing collectors of paintings that they could continue to collect photography was less of a challenge than convincing generations raised on BitTorrent, DRM wars, and authorless memes to introduce false scarcity into online digital abundance.
[0] https://en.wikipedia.org/wiki/The_Work_of_Art_in_the_Age_of_...
[1] https://artblart.com/tag/transparency-in-light-box/
[2] https://en.wikipedia.org/wiki/The_Destroyed_Room:_B-Sides_an...