“Unsupervised,” a solo show by artist Refik Anadol opens at New York’s MoMA. Working with the metadata for the museum’s 130,000 artworks, the Turkish-American artist’s eponymous AI model (image) fluidly morphs through the latent aesthetic space of the collection. Viewers revel in flowing transitions between myriad possible artworks, the experience subtly intensified by camera, microphone, and local climate data-informed real-time interactivity, tweets Anadol.

The first-ever solo exhibition of Brooklyn-based art collective MSCHF opens at Perrotin, New York, presenting elaborate interventions that leverage the absurdity of late-stage capitalism. Transforming the gallery into an interactive strip mall, “No More Tears, I’m Lovin’ It” showcases the group’s art as merchandize. Spot’s Revenge (2022, image), for example, trolls Boston Dynamics with a heavily armed robot dog, after the manufacturer disabled the legally purchased unit remotely.

“When you hit corporate America, it hits back—MSCHF have been subject to innumerable cease and desist decrees and being de-platformed from social media and online payment services.”
– American curator Michael Darling, on the Brooklyn-based art collective’s many provocations that are now on view at Perrotin, New York.
“Usually I had to sell the idea of digital art to the upper administrative levels. Now trustees are coming to me and asking if the Whitney should be in the metaverse.”
– Stalwart digital art curator Christiane Paul, on the post-NFT buzz around digital art in American museums. In addition to Paul, curators Michelle Kuo and Paola Antonelli (MoMA), and Tina Rivers Ryan (Buffalo AKG Art Museum) comment on the newfound enthusiasm.

Meriem Bennani and Orian Barki’s animated series 2 Lizards (2020) opens as an installation at The Whitney. In it, two anthropomorphized CGI lizards channel the artists’ experience of the COVID-19 pandemic unfolding in New York City, “a city gripped by extended isolation, and cries for social justice reform.” Originally released in eight episodes on Bennani’s Instagram, the Whitney show is 2 Lizards’s first institutional screening as a narrative film.

“The AI system renders all text as gibberish, but then again Jenny Holzer’s text nowadays is becoming harder and harder to read.”
Hyperallergic’s Hrag Vartanian, comparing views of Jenny Holzer’s current “Demented Words“ exhibition with an uncanny DALL-E interpretation of the gallery’s press release. “It could easily be mistaken for the work of Holzer,” Vartanian notes about the machine rendering, “maybe one that ‘questions legibility and our ability to read without understanding …’—sorry, I couldn’t resist.”
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After its recent site-specific debut at Tieranatomisches Theater, Berlin, the online component of Rachel Rossin’s transmedia narrative THE MAW OF (2022) launches on Artport, the Whitney Museum’s portal for internet art. Co-commissioned by Berlin’s KW Institute, the Web and AR experience follows a ghostly female figure navigating a landscape of cyborgian codes and prosthetic symbolism that is directly inspired by Rossin’s research into brain-computer interfaces.

“This type of work I call ‘attention fracking,’ where a pool of valuable attention is gathered around an issue and then mined by opportunists who know that the public just needs a painkiller on the issue.”
– Artist and Kimchi and Chips co-founder Elliot Woods, on the shallowness of Sustainable Locks, a kinetic sculpture Breakfast created for Tiffany’s Manhatten flagship store. “The artwork does nothing to talk about or acknowledge sustainability despite desperately wanting to,” fumes Woods.

Manfred Mohr’s solo exhibition “liquid symmetry” opens at bitforms gallery, New York, presenting vibrant algorithmic compositions from the veteran’s latest phase. Started in 2020, the titular series has diagonal paths pass through 11-dimensional hyper-cubes, leaving colour traces and generating shapes. The results are shown on-screen, as inkjet prints, or laser-cut aluminum reliefs (image: P3011_3) and juxtapozed with several of Mohr’s historical works from the 1960s and ’70s.

“Common Measures,” a show featuring three installations by Mexican-Canadian artist Rafael Lozano-Hemmer, opens at Pace Gallery in New York. Included are interactive crowd favourites Cloud on Water (2016) and Pulse Topology (2021), and a new generative work. The latter, Hormonium (2022, image), presents dynamic CGI waves crashing in synchronization with how the rhythm of human hormone release varies over the course of a day (i.e. cortisol in morning and prolactin at night).

“Letters, Lights, Travels on the Street (Bokura ga tabi ni deru riyuu)” opens in NYC. A collaboration by New Art Dealers Alliance (aka NADA) and NowHere, the Jeffrey Ian Rosen-curated show presents “a dynamic cross-section” of Japanese (fine) artists including Ken Kagami, Motoyuki Daifu, and Maki Katayama. Of note: included is “psychedelic, boundary-exploring” (electronics-infused) film by the late Minoru Yoshida (image: Epicurism of Space Universe on the Rock, 1975).

“We really have a very fixed idea of what kind of art we’re interested in. It requires a new model of running a gallery—especially one that shows challenging and forward thinking art.”
Postmasters’ co-founder Magda Sawon, on transitioning to a new nomadic model as the pioneering digital art gallery is being forced out of its Tribeca neighbourhood. Instead of showing in one fixed location, “Postmasters 5.0 locations will be tailored to the art we will present,” the gallery’s announcement states, defiantly.

John Gerrard’s solo show “Endling” opens at Pace, New York, presenting three new and recent large-scale simulations. Flare (Oceania) (2022, image), the exhibition’s centrepiece, links fossil fuel extraction and rising sea levels in the South Pacific, as documented by Tongan activist and artist Uili Lousi. Programmed in the Unreal game engine, Gerrard’s virtual environment runs on local Tonga time, resembling an evocative video feed from the affected region.

Meriem Bennani’s first public sculpture, Windy (2022), touches down on New York City’s High Line, kicking off the summer season of the High Line Art program. Installed on 24th Street through May 2023, Windy is a tornado-shaped kinectic structure that is made from black foam and spins so fast, its details escape perception. “Inspired by the dynamism and constant movement on the High Line,” the Moroccan artist created a sculpture that “captures and works within this urban energy.”

Sarah Friend drops the final chapter of her NFT “social sculpture” Off (2021) at Public Works, New York. “Off: Endgame,” a solo show commissioned by Rhizome, Fingerprints, and Refraction, also introduces Wildcards (image), a new work and key to Off’s secrets: The Canadian software artist offers customised card decks containing mint instructions for one of 52 NFTs; Wildcard tokens, however, will not become tradeable unless Off’s hidden message is revealed through cooperation.

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