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.

Rice University‘s Moody Center for the Arts in Houston (US) presents “Imaging After Photography,” a group show probing algorithmic bias, synthetic image-making, and photographic truth in the era of generative AI. Coinciding with FotoFest’s 40th anniversary, the show features Refik Anadol, Sofia Crespo, Trevor Paglen, and others. Nouf Aljowaysir’s Ancestral Seeds (2025) subjects British archaeologist Gertrude Bell’s photographs of the Middle East to computer vision models, exposing biases embedded in AI.

MIT’s List Visual Arts Center in Cambridge (US) presents “List Projects 34: Brittany Nelson,” featuring new photographs and a moving-image work filmed at West Virginia’s Green Bank Observatory—a hub for SETI researchers scanning the cosmos. Drawing on Daphne du Maurier‘s Rebecca (1938) and analog photographic techniques, the American artist frames the search for extraterrestrial contact as a mirror for human longing. Nelson has likened the telescope to “an ex-girlfriend,” and the piece unfolds as a “kind of breakup narrative.”