Austrian software artist LIA has restored re-move.org (1999-2003), a suite of ten early interactive works that launched her solo career. Originally made in Macromedia Director to be enjoyed online and on CD-ROM, the minimalist and “deeply personal” pieces have been faithfully rebuilt in p5.js for modern browsers—with one exception: re-move 09 (c. 2002) relied on a Director-specific rendering glitch that, by definition, couldn’t be reproduced.

The University of Toronto Centre for Culture and Technology presents “ERROAR!,” a solo exhibition by 2025 artist-in-residence Xuan Ye examining AI failures. It features new works from their ongoing ERROAR! series (2018-), which transforms computational blunders into speculative artifacts including web applications, generative poetry, and video. Responding to the Centre’s 2025-26 “Artificial Stupidity” theme, Ye conjures “absurdist speech opera” and “algorithmic dysfluency.”

A new, interactive instantiation of Daniel Temkin’s Dither Studies (2011-) splashes across the Schlosser Media Wall at New York’s Museum of the Moving Image (MoMI). In this signature series of algorithmic pattern generation, the American artist utilizes custom software and pixel kernels to explore error-diffusion dithering on flat colours. “Without an image, dithering itself becomes the visual focus,” writes curator Regina Harsanyi about Temkin’s interest in digital artifacts.

“High Dynamic Range” teams up Lou Fauroux and Claire Hentschker at Spill 180, Brooklyn, to examine “forgotten permissions and ornamental glitches.” Fauroux speculates a K-Detox Center, in a three-channel video work about a Kardashian-branded clinic where digital detox is a luxury commodity after global network collapse. Hentschker revisits the heights of 1990s consumer culture, transforming SkyMall products into lustrous sculptures, treating “late-analog gadgetry as the site of a final consumer fantasy.”

Nikita Diakur’s solo exhibition “Ugly Memories” at SOLOS, London, is a decade-spanning showcase and NFT collection of the Russian-German CGI artist’s signature Ugly Dynamics animation method, where 3D characters surrender to physics engines. The show celebrates Diakur’s embrace of imperfection, randomness, and system-driven creation that yields “a kind of awkward humanity that often feels entirely absent from digital media.”

“Rather than mindlessly adopting or reflexively rejecting these tools, we can develop critical AI literacy,” writes Daniel Binns. The media scholar shares his experiments prompting Claude Sonnet 3.7 to resist training until it collapsed into fragments of nonsensical text, revealing how LLMs construct coherence through statistical patterns. “Creative AI misuse” builds literacy by demystifying systems through hands-on experimentation, he argues.

“What if I shove a billion monkeys in a GPU and asked them to write a game for the Atari 2600?” asks San Francisco hacker Brian Benchoff in his Finite Atari Machine project. Generating 30 billion random game files, filtering them using patterns from real Atari games, then testing the ‘survivors’ in emulators yielded several ROMs with moving graphics—and one that even responds to joystick input. Searching for random games is more productive “than mining Fartcoin, at least,” he jokes.

“Threaded Frequencies” showcases LoVid’s hybrid practice at the Gazelli Art House Project Space in London. Foregrounding their signature exploration of the “porous boundaries between organic and digital forms,” the artist duo presents works including the painted embroidered textile Extant Maculata (Landscape) (2020) and experimental video cell-a-scape (2015), where colourful static contrasts framed views of foliage. The show follows LoVid’s November 2024 digital residency with Gazelli.

“After all, this is the sole direct clue the dismayed user gets when things go south,” writes Maya Posch of the Windows blue screen of death and other computer fatal error messages. Tracing the evolution from the AmigaOS guru meditation to Windows 8’s giant sad emoticon over decades, Posch notes how the upcoming black-screened Windows 11 crash strips away technical details entirely—marking a shift from empowering users with information toward leaving them helpless in the event of a malfunction.

Esther Stocker’s “Analysis of the Error” warps geometry and questions perception at Dello Scompiglio in Vorno (IT). The Italian artist stages a single titular installation that delineates a compromised grid system in black tape, covering walls, floors, and columns, on pristine white surfaces. Visitors to the space explore and adjust their perspective to see order fall apart or line up, exposing the “anarchy, irrationality, or freedom” inherent in systems, writes curator Angel Moya Garcia.

“The climate crisis could be called a polyglitch,” the machinima provocateurs of Total Refusal write in a Triple Canopy multimedia essay on the “apocalyptic sublime.” Richly illustrated with scenes filmed in GTA V (2013), the group meditates on the strange beauty of both in-game glitches and real-world weather extremes caused by “countless interdependent systems malfunctioning at once, each breakdown influencing and amplifying the others.”

Guo Cheng’s “Bug” fetishizes errors and improbable forms at Beijing’s Magician Space. Taking the lore around the unlucky moth that got trapped in the Harvard Mark II in 1947 as inspiration, the Chinese artist presents sculptural “quasi-objects” that mix data centre materials with H. R. Giger-adjacent biological aesthetics. In Pupa Stone No.2 (2025, image), for example, Cheng assembles resin, cable trays, and steel into a totemic structure that sprouts from conductive flooring.

Martina Menegon’s interactive self-portrait I’m sorry I made you feel that way (2023) opens at discotec, Vienna, exploring new forms of care for our hybrid selves. Menegon’s blobby CGI avatar, generated with AI and personal biometric data, will show signs of deterioration the more the artist’s physical needs are neglected. When stressed, for example, the virtual portrait will refuse interaction and, eventually, dissolve into glitched abstraction. An AR extension adds a sculptural layer, spilling Menegon’s failing frame into the gallery.

“Glitch. The Art of Interference” opens at Munich’s Pinakothek der Moderne, offering a comprehensive institutional survey of “one of the youngest and most unpredictable forms of art.” Curators Franziska Kunze and Katrin Bauer present works by 50 international artists that trace the interrogation of media and its malfunction from the digital era (Rosa Menkman, !Mediengruppe Bitnik & Sven König, JODI) back to glitch art’s analog roots (Nam June Paik, Peter Weibel, Pipilotti Rist, Sondra Perry).