An immersive, data-driven experience that links fluvial systems, glaciers, and climate change, Theresa Schubert’s solo exhibition “Melting Mountains” opens at MEINBLAU, Berlin, bringing together all three parts of The Glacier Trilogy (2021-22) for the first time. In it, the German bio artist draws on field research in the Western Alps to synthesize fictional archives of snowy peaks, trap ancient meltwater in hand-blown glass sculptures, and drive simulated glacial water systems with visitors’ CO2 exhalations.

To illuminate how generative AI models like Midjourney and Stable Diffusion derive their worldview from its 5.8 billion image and text pairs, German data journalist Christo Buschek and Canadian software artist Jer Thorp deconstruct the (only) open-source foundation dataset LAION-5B in an incisive, visual essay. Digging deep into its troubled contents, algorithmic—not human—curation, and entanglements with other systems, the two warn about stacking “models on top of models, and trainings sets on top of training sets.”

How (not) to get hit by a self-driving car, an installation and game by Tomo Kihara and Daniel Coppen, opens at San Francisco’s Asian Art Museum. Navigating a mock-street in the gallery, visitors try to make their way across a crosswalk without being detected by a computer vision system. A provocation in a city where autonomous vehicles are regularly involved in accidents, the game underscores “how going unseen by a similar AI system in an actual self-driving car could result in a tragic collision.”

Consumer advocates Public Citizen release “Mushrooming Risk,” a report on the danger of AI tools to foragers. Spurned by recent hospitalizations, researcher Rick Claypool outlines the folly of using apps to identify species and gauge edibility. “Mushroomers must take the time to develop their skills at their own pace,” he writes, championing local knowledge over app reliance. Experimenting with DALL-E compounded his fear; when he prompted it to label basic mushroom anatomy, it hallucinated utter nonsense (image).

KW Berlin opens “Poetics of Encryption,” an extensive group exhibition that builds on curator Nadim Samman’s eponymous book, illuminating “Black Sites, Black Boxes, and Black Holes”—terms that indicate how technical systems capture users, how they work in stealth, and how they distort cultural space-time. The show gathers both historic and newly commissioned works by over 40 artists including Nora Al-Badri, Clusterduck, Kate Crawford & Vladan Joler, Simon Denny, Eva & Franco Mattes, Trevor Paglen, Rachel Rossin, and Troika.