“The people in these illustrations, silent, anonymous and dissected, were never asked to teach us,” writes anatomist Lucy E. Hyde, excavating the troubling origins of medical images—from atlases drawn from concentration camp victims to bodies acquired through grave robbing. Hyde argues these foundational images built anatomy’s authority by exploiting the imprisoned, poor, and marginalized; she calls for acknowledgment of these origins and new inclusive anatomical libraries reflecting human diversity across gender, race, and disability.

“Subject to Change” at London’s Gazelli Art House presents new and recent works by nine critical AI trailblazers including Memo Akten, Nouf Aljowaysir, Morehshin Allahyari, Brendan Dawes, Jake Elwes, Entangled Others, and Auriea Harvey. Recognized for their creative interrogation of machine learning algorithms and datasets, the artists challenge prevailing industry narratives by “building bespoke systems, deconstructing existing models, and working with a meticulous attention to materiality.”

Danielle Brathwaite-Shirley’s new videogame and immersive multiplayer experience, THE DELUSION (2025), explores themes of polarization, censorship, and social connection at Serpentine North Gallery, London. The British artist invites visitors into a “post-apocalyptic world broken into closed, dogmatic factions” to rehumanize debate through live community play. As Brathwaite-Shirley’s writes: “Let’s have the difficult conversations.”

“Accurate Misreadings” examines how interpretation shapes meaning at NOME as part of Berlin Art Week. Artists including James Bridle, Paolo Cirio, Goldin+Senneby, and Kameelah Janan Rasheed explore bureaucratic violence and power structures through annotated prints, defaced archival documents, and appropriated patents. Dread Scott’s #whileblack (2018), for example, catalogues racial profiling incidents through stark screen-printed text documenting Black experience in America.

British artist Danielle Brathwaite-Shirley transforms ZKM Karlsruhe’s Sound Dome into an “interactive space for healing, confrontation, and radical empathy” with Uncensored Clinic (2025), an immersive, multiplayer performance. Created in collaboration with Florentin Tudor and Rochelle Tham as part of ZKM Hertzlab’s “TURNS: Sounding Out Health” series, the restorative experience merges spatial sound, game aesthetics, and performative care.

As protests against ICE raids engulf Los Angeles, software artist Kyle McDonald reactivates his ICEspy (2018) counter surveillance tool. The web app that reveals the identity of ICE employees by matching hundreds of scraped LinkedIn profiles was disabled in 2024, when Microsoft, a known ICE contractor, restricted access to its face recognition API. Now, the site is operational again, “running fully on-device,” McDonald announces on social media.

In the second, MOCA Detroit edition of “Code Switch: Distributing Blackness, Reprogramming Internet Art,” organizer Legacy Russell shifts her focus from the history of “Black data” and African American Cybercultures (see debut) to the present day, celebrating what contemporary Black makers, including American Artist, Danielle Brathwaite-Shirley, A.M. Darke, Stephanie Dinkins, and Martine Syms, contribute to new media art and digital practice.

Danielle Brathwaite-Shirley’s solo exhibition, “THE SOUL STATION,” opens at Halle am Berghain, Berlin, transforming the iconic club location into an arcade of “ethical, political and moral decision-making” within the “broader structures and histories of marginalization.” Commissioned by LAS Art Foundation and curated by Mawena Yehouessi, it surveys Brathwaite-Shirley’s oeuvre of game-based works exploring the Black Trans experience and centres on a newly-created piece that has players contend with their biases through collaboration.

Exploring the intersection of Blackness and geological time, Cauleen Smith’s film The Deep West Assembly (2024) debuts at her Astrup Fearnley Museum solo show in Oslo. In the film, the American artist juxtaposes imagery of geological formations and human-made landforms with narration drawn from various texts, including her Volcano Manifesto (2022), to articulate the deep time of the Mississippi River Delta. A video installation, textile banner series, and reading room round out the exhibition.