“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.

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.

Claudia Hart’s fifth Bitforms solo show, “Illuminations,” foregrounds the American artist’s longstanding interest in decorative patterns and icons. A frequent motif in her CGI scenes, the background symbols span heraldry, corporate logos, emoji, and mathematical symbols. In her featured Fallen Angel (2024-25, image) animations, Hart picks up where painters like Alexandre Cabanel left off but puts her forlorn exiles in contemporary attire amidst splashy organic shapes.

Circular shapes, central openings, radiating lines: Radek Sienkiewicz, aka VelvetShark, has an idea why AI company logos resemble buttholes. “Circles represent wholeness, completion, and infinity—concepts that align with AI’s promise. They’re also friendly and non-threatening, qualities companies desperately want to project when selling potentially job-replacing technology.” The visual conformity reveals a race for legitimacy, Sienkiewicz concludes, and ”the fear of standing out.”

Presenting physics-informed work-in-progress, Carsten Nicolai’s HYbr:ID opens at the Museum of Contemporary Art of Rome (MACRO). A listening lounge featuring a sound piece that “oscillates between more stylized, dilated rhythms and dreamy atmospheres generated by low frequencies” inspired by Hermann Minkowski’s 1908 model of spacetime takes centre stage. Also presented are related drawings and graphics in which the German artist pushes the limits of musical notation.

The Thessaloniki PhotoBiennale flagship exhibition, “The Spectre of the People,” opens in its namesake port city in Greece. Curated by Julian Stallabrass, artists including Lauren Greenfield, Carey Young, and The Archive of Public Protests explore populism. DISNOVATION.ORG contributes ONLINE CULTURE WARS (2018-19, image), a map of the “over-politicization of seemingly mundane topics, practices, and cultural elements,” with Donald Trump at the centre of a disinformation vortex.