Do virtual bodies and AI chatbots broaden our perceptions of the body, gender, and sexuality, or do they reduce them to clichés? In “KI LOVE,” artists Arvida Byström, Stine Deja, Marie Munk, and Lotta Stöver present works at Galerie Mitte in Bremen (DE) that offer techno-feminist perspectives on surrogate technologies and mixed realities. An extended version of Stöver’s Latent Imaging and Imagining (2023-24), for example, uses AI-altered personal photographs to re-imagine—queer—childhood memories.

“The people in these illustrations, silent, anonymous and dissected, were never asked to teach us,” writes anatomist Lucy E. Hyde, excavating the troubling origins of medical images—from atlases drawn from concentration camp victims to bodies acquired through grave robbing. Hyde argues these foundational images built anatomy’s authority by exploiting the imprisoned, poor, and marginalized; she calls for acknowledgment of these origins and new inclusive anatomical libraries reflecting human diversity across gender, race, and disability.

Danielle Brathwaite-Shirley’s new videogame and immersive multiplayer experience, THE DELUSION (2025), explores themes of polarization, censorship, and social connection at Serpentine North Gallery, London. The British artist invites visitors into a “post-apocalyptic world broken into closed, dogmatic factions” to rehumanize debate through live community play. As Brathwaite-Shirley’s writes: “Let’s have the difficult conversations.”

The 7th issue of the INSERT, a Swiss online journal for “Artistic Practices as Cultural Inquiries,” delves into the plant sensorium, vegetal agency, and expanded definitions of aesthetics. Created within the Plant Intelligence research project at Basel’s Institute Art Gender Nature (IAGN), contributors including Noelia Billi, Julia Mensch, Cate Sandilands, and Rasa Smite offer nine queer-feminist and decolonial perspectives on “our neglected closest companions.”

“Another day. Another night.,” Barbara Kruger’s first comprehensive Spanish survey fills Guggenheim Bilbao with text-based provocations spanning five decades. The American artist’s signature declarations challenge structures of power, identity, and control across walls, floors, and screens. Untitled (Forever) (2017/2025), a site-specific installation, surrounds visitors in Spanish and Basque text, weaving George Orwell’s dystopian warnings with Virginia Woolf’s insights on gendered power dynamics.

British artist Danielle Brathwaite-Shirley serves existential angst and radical vulnerability at Berlin’s NOME gallery. “UNCENSORED” summons poignant figures across paintings, drawings, and a videogame, offering unflinching commentary on the grind of everyday existence as a Black trans woman. Her handwritten annotations on walls and canvases describe self-doubt, fear of violence, and the fight for survival. Perhaps the starkest, one laments, “I can’t even protect myself. Can you?”

In “Many Ghosts, Many Shells,” curator Rebecca Edwards presents a series of gaming experiences at London’s Seventeen gallery that explore identity and selfhood through worlding and simulation. The works by David Blandy and Petra Szemán, John Powell-Jones, and Danielle Brathwaite-Shirley position gameplay as “a radical tool for rethinking action,” Edwards argues, by interrogating power and erasure in digital archives, and uncovering shared imaginaries that transcend cultures and generations.