07/12/2022: Shana Nys Dambrot Describes Vintage Nancy Holt Installation as “A Dreamy Edisonian Wonderland”

06/12/2022: Out Now: Inaugural Metalabel Drop Is Hybrid Zine Exploring Life “After the Creator Economy”

04/12/2022: Karsten Schmidt Offers Generative Art Pro-tip: “Abstain from Romanticized Post-rationalizations”

02/12/2022: Critic Sowon Kwon Shares Rubric for Scrutinizing Video Installations

02/12/2022: “Chronos/Synthesis” Sees Oliver Pauk Exploring Tensions between Digital Form and Material Affordances

01/12/2022: Tech Historian Benji Edwards’ 1992 BBS Handle Was Red Wolf (Because He Liked Wolves)

30/11/2022: Sixth Edition of BIAN Puts Car Crash and Robot Burlesque Centre Stage in Montreal

25/11/2022: Researcher Aaron Shaprio Describes Platform Capitalism Worker Exploitation in a Nutshell

25/11/2022: “ON AIR” Excavates Pre-History of Contemporary Sound Art

25/11/2022: Sculptor Tom Sachs Argues Barbie, the Titanic, and the Technics 1200 Turntable Are ‘Spaceships’

24/11/2022: “LOST & FOUND” Presents Limited Edition Prints from Toronto’s Burgeoning Early 1980s Telidon Art Scene

23/11/2022: Out Now: Sofian Audry Positions “Art in the Age of Machine Learning”

21/11/2022: Curator Tina Rivers Ryan Positions Museums Venturing into the NFT Space on a 150-Year Timeline

19/11/2022: Refik Anadol’s “Unsupervised” Showcases AI Art at MoMA

18/11/2022: New Models’ Caroline Busta & Lil Internet Schematize the Dilution of Art Criticism

17/11/2022: “Slaughter-Free” Lab-Grown Chicken Cleared for Consumption by American Food and Drug Administration

17/11/2022: Incoming FTX CEO John Ray: “Never in My Career Have I Seen Such a Complete Failure of Corporate Controls”

17/11/2022: Matt Nish-Lapidus’ Meticulous Assemblies Ask “DO COMPUTERS WORRY YOU”

15/11/2022: MUTEK Immersive Collection Blurs Lines between Music Video and XR Exploration

15/11/2022: Life Sciences Researcher Kim Johnsons Says Duckweed May Be Ideal Plant for Feeding Astronauts