Threading connectivity in red, Chiharu Shiota’s “Everyone, a Universe” opens at Fundació Antoni Tàpies in Barcelona. True to her signature delicate network aesthetic, the Japanese artist wires up 43 chairs purchased at a flea market and two thousand skeins of wool into the show’s titular work (2024, image). “Perhaps death is not a return to nothing but, rather, a matter of integrating ourselves,” says Shiota of her preoccupation with mortality and universal interconnection.

Organized by the NFT platform Verse, American generative artist John Provencher presents two playful net.art-inspired bodies of work at Cromwell Place in London. The first, over-time (2023), pays homage to the blocky visual language of Alexei Shulgin’s Form Art (1997) via dithered animations of twisting Lissajous curves, while the second, HAHA (2023, image), sardonically “visualizes and plays on the transactional nature of NFTs” by spewing an endless stream of “generative receipts” from a thermal printer.

“Holding Up The Sky,” a solo show by Caroline Monnet, opens at the Art Gallery of Burlington (AGB) in Ontario, Canada. Foregrounding her interests in indigenous geometry and the figure of the cube (image: It Cracks with Light, 2021), the Franco-Anishinaabe artist presents The Room (2023), a 3 square metre assembly of inscribed styrofoam. The installation, and another made of PVC pipes and conduits, rebukes “prescriptive colonial architecture … the urge to square and compartmentalize.“

Chronicling all things amorphous, Zach Lieberman’s An Atlas of Blobs launches. Commissioned by Hong Kong’s M+, an eclectic cast of artists and educators including Ani Liu, Tiger Wong Ho Lun, Ellen Lupton, James Paterson, and Yehrin Tong lend their voices to a whimsical online resource celebrating the eccentric geometry of undulating forms. Captioning a survey of Lieberman’s playful animated sketches, the contributors collectively articulate “a more blobular way of being.”

Most recently shown at “METAMORPHOSIS” at Hyundai Motor Studio Seoul last year, Matthew Biederman’s Serial Mutations (z-axis) v04 (2019) opens at Montreal’s ELEKTRA Gallery. Emerging from the vein of Biederman’s work that pushes at the limits of geometry and perception, it deploys the Necker cube optical illusion as the basis of an indeterminate shifting field that reconfigures itself ad infinitum, outside of perspectival space. Installed in ELEKTRA Gallery’s window vitrine, the animation will be displayed through June 19.