Wearable AI that’s carbon-neutral and socially acceptable? Damjanski’s A.I. Computer Vision Pin (2025) is a limited edition enamel accessory that reminds us of the pervasiveness of powerful image recognition technology. Inspired by the vibrant object detection sculptures he created for his 2024 solo show at Berlin’s Office Impart, the New York-based internet artist fun-sized the idea into something we can (proudly) wear.

“The Art of Navigation” at Fundación Foto Colectania in Barcelona explores the transformative role of photography in a cultural era marked by fragmentation, hybridization, and disorientation. “Today, photographs are actionable—they construct the space itself,” notes curator Jon Uriarte, presenting works by Sara Bezovšek, James Bridle, Alan Butler, Kyriaki Goni, Simon Weckert, and others that embrace “getting lost” as a form of resistance and critical commentary.

As protests against ICE raids engulf Los Angeles, software artist Kyle McDonald reactivates his ICEspy (2018) counter surveillance tool. The web app that reveals the identity of ICE employees by matching hundreds of scraped LinkedIn profiles was disabled in 2024, when Microsoft, a known ICE contractor, restricted access to its face recognition API. Now, the site is operational again, “running fully on-device,” McDonald announces on social media.

“Model Collapse” dives into generative AI’s feedback loops and cultural distortions at Kunsthalle Wien. The flagship exhibition for Vienna Digital Cultures features works from Arvida Byström, Kate Crawford & Vladan Joler, Mathias Gramoso, Jonas Lund, Eva & Franco Mattes, and Troika, exploring topics ranging from machine vision to deepfake porn. The show embraces how the artifice of LLMs and AI image generation are “destabilizing the very ground on which we stand,” writes curator Nadim Samman.

Marcel Schwittlick’s “The White Show” at Nguyen Wahed, New York City, juxtapozes three works that demonstrate the German artist’s decade-long research into human-machine gesture. Where Composition #12 (nr1) (2015) draws on Schwittlick’s own cursor choreographies, Caltech Studies (2024)—his newest series—appropriates the collective mouse movements of Caltech scientists creating the first AI dataset. The animals the researchers traced are represented with ink on aluminum and a set of tactile braille prints.

“PAIN && PLEASURE” at Berlin’s DAM Projects is a first career survey of emerging German artist Marcel Schwittlick that includes his trademark plotter geometries, forays into luminography, and early machine learning experiments. In Caltech Studies (2024), a new series of aluminum paintings and plotter drawings, Schwittlick samples a milestone in AI development: Caltech 101 (2003) is the oldest computer vision dataset, containing 9,000 objects hand-traced by the same scientists that later created ImageNet.

Showcasing recent works from his three decades spent building interactive mirrors, Daniel Rozin’s “Contours” opens at Bitforms New York. Presented are One Candle Mirror (2023), an apparatus with 276 lenses that draws on the light of a singular candle, and RGB Lights Mirror (2023, image), a screen of 818 rotating aluminum knobs that reflect an LED screen-like image of the viewer. In aggregate, the new works demonstrate the Israeli-American artist “turning his focus to the outline of the human form.”

A retrospective featuring experiential installations designed by the Icelandic–Danish artist over three decades, “Olafur Eliasson: Your curious journey” opens at the Singapore Art Museum (SAM). Some included works invite play and movement, like the colourful body-tracker Multiple Shadow House (2010), while others provoke, like The glacier melt series 1999/2019 (2019), a time-lapse photo grid that starkly illustrates how global warming has ravaged the Icelandic landscape (image).

Simone C Niquille’s CGI film Beauty and The Beep (2024) premieres at EXPOSED Torino Foto Festival (IT), completing the Dutch artist’s trilogy on cohabitation with computer vision. Following an AI-trained computer model of a ‘smart chair’ trying—struggling—to find a place to sit, the film playfully collages evidence of the modern datafied home: The chair is designed after Bertil, the first IKEA product advertized with synthetic imagery while the parcour resembles Boston Dynamics’ model home for robot dogs.

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).

Considering compassion and competence, “AI: Who’s Looking After Me?” opens at Science Gallery London. Co-presented with FutureEverything, invited artists including James Bridle, Wesley Goatley, Seo Hye Lee, and Mimi Ọnụọha interrogate “what it means to entrust our care to autonomous machines. ” Blast Theory’s Cat Royale (2023, image), for example, puts Ghostbuster, Pumpkin, and Clover in the custody of a computer vision system and robot arm, which monitor, tend to, and play with the three felines.