Three decades into his practice, Jim Campbell continues probing the threshold between abstraction and recognition. “Encoding Light” at bitforms NYC situates historic pieces alongside new works, positioning the American artist’s low-resolution LED installations as investigations into how perception fills in visual gaps. Motion Color Study #6 (2026), for example, translates footage of Monet’s Giverny garden into blurred colour fields—a continuation of the Impressionist’s inquiry, not a reinterpretation.

“Suzanne Treister: Prophetic Dreaming” at Modern Art Oxford (UK) traces the British para-disciplinary artist’s enduring fascination with new technologies, power structures, and alternative belief systems. Treister’s first major institutional retrospective spans four decades and includes key works like the HEXEN 2.0 series of alchemical diagrams of big picture histories, with the latest, HEXEN 5.0 (2023-25), linking AI, climate breakdown, and quantum computing.

Simon Denny revives Italian Futurism’s aeropainting to explore contemporary defence industry aesthetics for “The Future” at Michael Lett, Auckland (NZ). Training AI image models on Futurist paintings, Denny presents grainy abstractions of flight, iconography, and machines peppered with snippets of Anduril, Palantir, and SpaceX marketing copy. Linking technofascist moments across a century, he explores how the “futurist dream of machinic speed, aerial traversal, and war are being revived.”

“Infinite Images: The Art of Algorithms” builds bridges between mid-20th century systems art pioneers and post-NFT generative artists at the Toledo Museum of Art (US). Curator Julia Kaganskiy places works by Anni Albers, Sol LeWitt, and Vera Molnar alongside contemporary pieces by Dmitri Cherniak, Tyler Hobbs, and Anna Ridler. The show broadly “considers how emerging technology like blockchain and AI are changing the definition of ’generative art,’” writes Kaganskiy.

In “DOKU the Creator – Bhavachakr,” Lu Yang’s second solo exhibition at Société, Berlin, the Chinese artist’s digital self, DOKU, transcends its avatar origins to become a deity. The metaphysical shift to Creator, a “meditative presence” that conjures virtual worlds through “contemplative stillness,” manifests in a new video piece and a series of paintings that gesture towards greater human-machine fluidity and a digital sublime.

White Cube London presents ”Alien Shores,” a landscape survey examining emotional and speculative terrain. Curator Susanna Greeves assembles 35 artists who grapple with colonial legacies and contemporary estrangement from nature. Notable among canonical names like David Hockney and Georgia O’Keeffe is Bagus Pandega & Kei Imazu’s Artificial Green by Nature Green 4.1 (2025), a machine-drawing system that creates and erases rainforest imagery based on biofeedback from a living palm oil tree.

“Terraphilia: Beyond the Human in the Thyssen-Bornemisza Collections” challenges anthropocentric worldviews in a multi-century survey at Madrid’s Museo Nacional Thyssen-Bornemisza. From cosmograms to oceanic imaginaries, artists Daniel Steegmann Mangrané and Sissel Tolaas dialogue with canonical figures like Salvador Dalí and Wassily Kandinsky, exploring planetary kinship and care. The show invites viewers “to rediscover the world as a pluriverse.”

The fourth cycle of Galleria d’Arte Moderna e Contemporanea’s (GAMeC) “Thinking Like a Mountain” launches in Bergamo (IT) and the Orobie mountains, featuring Cecilia Bengolea, Maurizio Cattelan, Francesco Pedrini, and Julius von Bismarck. It embeds artists in alpine communities, and treats landscape as collaborator not subject. Von Bismarck continues his Landscape Painting series (2015-) by applying black lines directly onto a Dossena mine’s walls, flattening depth to critique landscape representation.

“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.

“Liquid Body” showcases Pamela Rosenkranz’s synthetic ecologies and unearthly atmosphere at Amsterdam’s Stedelijk Museum. The Swiss artist presents numerous paintings on experimental materials—plexiglass, mirrors, emergency blankets, and synthetic skins—alongside polymers and LED lighting exploring “the body’s interaction with the contemporary environment.” Our Product (2015, image), her installation first staged at the Venice Biennale, offers an uncanny pool of pink liquid mimicking standardized skin tones.

“Remix the Archive” showcases works by Combine24 finalists at NYC’s Dunkunsthalle. The competition invited generative artists to dive into the Finnish National Gallery’s creative-commons licensed collection data and create new artworks. Ilmo & Aarni Kapanen, Agoston Nagy, Andreas Rau, and others present software deconstructions of painterly tropes and specific works. Arttu Koskela’s The Artist’s Code (2024, image left), for example, pixelates the language of portraiture into grid-based abstractions.

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?”