“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.”

Born-digital art champions Rhizome announce that their solar web server has been permanently installed atop the 18th Street Arts Center rooftop in Santa Monica, California. Part of Solar Protocol’s “naturally intelligent network,” the initiative reflects the organization’s push toward more sustainable—and intentional—digital infrastructure. The server offers only “sporadic connectivity” dependent on available sunshine, routing requests to whichever node has the most sun.

Hito Steyerl’s “The Island” deploys science fiction as a tool for critiquing the present at Milan’s Osservatorio. Threading together flood motifs—from Nobel laureate Osamu Shimomura’s research on bioluminescent plankton to a submerged Neolithic settlement off Dalmatia—the German artist’s site-specific video installation collapses “deep time and junk time” to estrange viewers from contemporary AI authoritarianism and ecological crisis.

Building on his activist work exploring “unconventional CO2 offsets” with collaborator Tega Brain, American artist Sam Lavigne introduces the world’s first (?) income-based carbon footprint calculator. The tool is based on new insights on emissions inequality that show that “40% of total U.S. emissions were associated with income flows to the highest earning 10% of households.” As Lavigne states: “Some people are, in fact, more responsible than others.”

The Herbert W. Franke Foundation announces the opening of a new lab at the University of Innsbruck (AT), honouring the late physicist, speleologist, and digital art pioneer (1927-2022). Equipped with instruments for advanced isotope analysis, the facility will improve climate models by determining the age of cave mineral deposits with high precision. “Herbert W. Franke was a visionary scientist who recognized the potential of these deposits for dating and reconstructing past climates,” University Rector Veronika Sexl said at the inauguration.

In “Persistent Worlds,” Alice Bucknell’s first major museum exhibition at Kunsthalle Praha (CZ), the LA-based artist and writer presents four recent works—two films, two videogames—that explore speculative fiction, eco-criticism, and interspecies collaboration through simulation. Small Void (2025), Staring at the Sun (2024-25), Nightcrawlers (2025), and The Alluvials (2023) unsettle reality, curator Lívia Nolasco-Rózsás writes, reminding us that worldbuilding is a powerful political gesture.

“Suzanne Treister: Prophetic Dreaming” at Modern Art Oxford (UK) traces the British para-disciplinary artist’s enduring fascination with new technologies, power structures, and alternative belief systems. Treister’s first major institutional retrospective spans four decades and includes key works like the HEXEN 2.0 series of alchemical diagrams of big picture histories, with the latest, HEXEN 5.0 (2023-25), linking AI, climate breakdown, and quantum computing.

Janet Echelman’s “Remembering the Future” transforms climate data into sculptural form at MIT Museum, Cambridge (US). An output of her Center for Art, Science & Technology (CAST) residency, Echelman uses braided, knotted, and hand-spliced coloured twines to visualize Earth’s timeline from the last ice age through possible futures. Architect Caitlin Mueller’s accompanying digital kiosk reveal the engineering forces that achieve equilibrium in the tensile structure.

“How To Get To Zero” at Pioneer Works, Brooklyn, surveys Tega Brain and Sam Lavigne’s decade of works focused on climate activism. The show debuts Offset (2025), which sells carbon credits from industrial sabotage, funnelling proceeds to the activists behind each action. Alongside works like Cold Call (2023), the duo’s interventions critique market-based environmental solutions and expose the tech sector’s complicity in the climate crisis.