Rice University‘s Moody Center for the Arts in Houston (US) presents “Imaging After Photography,” a group show probing algorithmic bias, synthetic image-making, and photographic truth in the era of generative AI. Coinciding with FotoFest’s 40th anniversary, the show features Refik Anadol, Sofia Crespo, Trevor Paglen, and others. Nouf Aljowaysir’s Ancestral Seeds (2025) subjects British archaeologist Gertrude Bell’s photographs of the Middle East to computer vision models, exposing biases embedded in AI.

“Tiffany Chung: indelible traces” at UC Santa Barbara’s Art, Design & Architecture Museum (US) is the Vietnamese American artist’s first museum survey. Spanning 25 years and over 70 works—from embroidered maps to archival investigations of place—Chung excavates suppressed histories that official narratives overlook. A major thru-line: the climate-conflict nexus, “which views climate disasters and armed conflicts as dual systemic causes of forced migration.”

Mimi Ọnụọha’s “Soft Zeros” examines archival failure and unstable knowledge at Vienna’s Secession. The American artist uses the statistical term ‘soft zero’—values registered as absent but unverified—as a framework for understanding erasure within data systems. Central is Ground Truths (2025), a docu-fiction film in which Ọnụọha trains a machine-learning model to locate potential mass graves across Texas—prompted by the Sugar Land 95, remains of Black forced labourers discovered near her childhood home in 2018.

“There wasn’t one system that dominated the market. It was a bit of a wild west,” says Cambridge University Library’s Leontien Talboom, describing the floppy disk era chaos now complicating digital preservation. Profiling the “Future Nostalgia” project, BBC Future details how Talboom sources obsolete drives from eBay to rescue deteriorating magnetic media—preserving the files of Stephen Hawking and others. As iron oxide degrades, she’s racing to prevent the 1970s-90s from becoming a “digital dark age.”

Louisiana Museum of Modern Art in Humlebæk (DK) stages the first full-scale presentation of Jon Rafman’s breakthrough Nine Eyes project (2008-) with “Report a concern—The Nine Eyes Archives.” Mining images from Google Street View, the Canadian artist foregrounds the accidental surveillance regime of Google’s ubiquitous roaming cameras. The show features scores of large prints, an archive culled from Street View subculture blogs, and new AI-animated works.

“Accurate Misreadings” examines how interpretation shapes meaning at NOME as part of Berlin Art Week. Artists including James Bridle, Paolo Cirio, Goldin+Senneby, and Kameelah Janan Rasheed explore bureaucratic violence and power structures through annotated prints, defaced archival documents, and appropriated patents. Dread Scott’s #whileblack (2018), for example, catalogues racial profiling incidents through stark screen-printed text documenting Black experience in America.

The TRANSFER Data Trust celebrates its public launch at New York’s Pier 57, completing TRANSFER’s evolution from a gallery LLC into a data cooperative. The decentralized, artist-owned archive and value exchange network functions as an “open culture stack” designed to collaboratively manage and maintain digital artworks in perpetuity. According to founder Kelani Nichole, “this emergent care model offers a new approach to media art valuation, conservation, and governance.”

“Ethical portrayals of the Holocaust are not contingent on the accurate representation of sites themselves,” writes researcher Emily-Rose Baker, critiquing the Auschwitz-Birkenau Memorial’s new digital replica. Using LiDAR and drones, Picture from Auschwitz delivers a “certified 1:1” Unreal Engine model of the concentration camp for filmmakers. Baker argues the project’s myopic emphasis on technical accuracy implies that existing memorial tools—physical remains, survivor testimonies—are insufficient.

Amsterdam’s LI-MA announces a new cataloguing system that accounts for the complexity of media artworks that confounds traditional museum databases. The Four Level Artwork (FLA) model breaks works down to the artist’s core idea, different iterations of the concept, how the work is technically realized, and the files or objects in a collection. Bas van Koolwijk’s TST (2000) demonstrates FLA: one conceptual work becomes two artistic versions, each with two display formats, and specific tapes in LI-MA’s vault.

CERN marks the centenary of quantum mechanics by sharing Werner Heisenberg’s pivotal letter to Wolfgang Pauli, dated July 9th 1925, preserved in the Wolfgang Pauli Archive. In it, Heisenberg reveals his radical ideas about the strange behaviour of matter at atomic scales, humbly writing “perhaps those more capable than I may yet make something sensible of it.” The letter includes a draft of his famous Umdeutung paper, considered the “birth certificate” of quantum theory.

Dutch media art curators and preservationists LI-MA announce AMIGA NU, a project to catalogue 1980s and ’90s Commodore Amiga art. Funded by Culturefonds, it aims to fill gaps in LI-MA’s archive and develop “a standardized model to describe and categorize Amiga works.” Knowledgeable about this history? The researchers seek input from the public about what international artists were active in this milieu to ensure these pioneering figures and their work are not forgotten.