Sydney’s Museum of Contemporary Art Australia (MCA) probes the complex relationship between technology and power in a major survey: “Data Dreams: Art and AI” brings together ten international trailblazers, including Fabien Giraud, Kate Crawford & Vladan Joler, Trevor Paglen, Hito Steyerl, and Anicka Yi, to explore how algorithms and the data economy reshape world views, social systems, and the living planet. Giraud’s AI co-authored film, The Feral (2025–3025)—a world premiere—projects one possible outcome, hallucinating humanity’s future 32 generations ahead.

Sprüth Magers Berlin revisits Gretchen Bender’s Top Ten Grossing Films of 1988 (1989) in “Political Entertainment,” showing for the first time since their debut. Ten backlit sculptures rendered in crumpled black vinyl and neon bear the titles of that year’s highest-grossing films—Coming to America, Crocodile Dundee II, Die Hard, etc. Compiled through the late American artist’s monitoring of trade publications, the forms probe the Hollywood blockbuster as what Bender called “a fascism of and through entertainment.”

Following its 2024 debut at Tate Modern, OGR Torino (IT) presents a new iteration of “ELECTRIC DREAMS. Art & Technology Before the Internet.” Featuring Carlos Cruz-Diez, Nam June Paik, Lillian Schwartz, and others, the exhibition traces kinetic, optical, and computational practices—from the “Cybernetic Serendipity” (1968) era to the dawn of the digital age. The show demonstrates how 20th century artists “appropriated tools developed in military or corporate contexts to redefine collective imaginaries,” write the curators.

“Folding, Flexing and Expanding,” on view at Palazzo del Capitanio in Verona (IT), presents works by Apparatus 22, Zach Blas, Mit Borrás, Shu Lea Cheang, Heather Dewey-Hagborg, and others, that explore how technology shapes posthuman corporeality, asserting itself as both existential and creative infrastructure. As TOMORROWS curators Jessica Bianchera and Domenico Quaranta argue, the body becomes “an imaginative and political device, continuously reshaped by the technologies, aesthetics, and narratives that permeate it.”

Science Gallery London’s “Quantum Untangled” renders the inscrutable legible, tasking artists with explaining quantum mechanics. Robin Baumgarten, Monica C. LoCascio & Daniela Brill Estrada, Alistair McClymont, and others translate subatomic phenomena into experiential form. Conrad Shawcross‘ kinetic sculpture Ringdown (2024), for example, reimagines the collision of black holes as spinning bells whose trajectories trace spiralling gravitational waves.

Welsh artist Cerith Wyn Evans’ “Forms in Space… by Light (in Time)” at MAAT, Lisbon, centres his monumental titular sculpture (2017). Nearly 2 km of suspended neon tubes form a 3D drawing inspired by Marcel Duchamp’s The Large Glass (1915-23) and Noh theatre movement diagrams—“a zone for meditation and a place for reverie,” says the artist. Also featured: works from the StarStarStar/Steer (Transphoton) series (2019), LED columns that pulse in sync with human breathing.

Jenna Sutela presents her first solo exhibition in the Netherlands, “ave bossa, bow ole,” at Stroom Den Haag. Across two floors, the Finnish artist presents works including Vermi-Cell (2023-25)—a living earth battery-powered sound installation fed by composting worms—the edible Sweet Energy Poem (2023-25), and hand-blown glass spheres Strange Loupe (2025) incorporating her portrait. For Sutela, these works enact “a world made of brains”—systems challenging anthropocentric consciousness at all scales.

The Diogenes Bunker in Arnhem (NL), one of the country’s largest wartime bunkers, comes alive with eco-critical art before permanently closing to the public. In “Emerging Exits,” curator Marijn Bril brings together works by Maksud Ali Mondal, Kévin Bray, Tega Brain, Silvia Gatti, Julian Oliver, Vica Pacheco, and others to create a contemplative space, cut off from sunlight and mobile reception, “where time slows down and other perspectives come into view.”

Troika inaugurates max goelitz’s new Munich location with “Deception Island,” a display of new and recent works that chart “a cartography of displacement and emergence, where extinct species, digital flora and machine-mediated visions converge.” In the speculative landscapes of Out of Place, Out of Time (2025), for example, an extinct cactus species takes root at the edge of the Antarctic Peninsula, while the delicate metal forms of the Ultraflora (2025) sculpture series were grown from 3D scans of pioneer plants.

Brennan Wojtyla transforms Antwerp’s TICK TACK (BE) into a brutalist arcade with “LAN,” where scores of stripped-down computers become sculptural and host a Local Area Network Party. The American artist reduces hardware to essential components—every vent, cable, and chip optimized for playing classic Counter-Strike (1999)—bringing LAN-party nostalgia into the white cube. In parallel, the gallery’s architecture is transformed into a playable game map for both local and online visitors.

Auriea Harvey inaugurates arebyte’s new Digital Art Centre in London with “(This Room is a Sculpture Called) PROPHECY,” her first UK solo exhibition. Across three immersive chambers, holograms of saintly figures perform ritualistic, AI-generated choreographies in what curator Pita Arreola describes as “an allegorical rendering of a spiritual journey.” Charting a path to “reclaim grace and unity,” the exhibition calls for emancipation from algorithmic governance and a return to soul and body.

Kévin Bray’s second solo exhibition with Amsterdam’s Upstream Gallery, “The Interfaced and The Compass: Playing Realities,” constructs a fictional game inventory: across two rooms, objects, symbols, and relational artifacts are divided into digital versions and their physical counterparts. A floor grid functions as an interface, serving as map and memory. With this show, Bray suggests that “our digital life, as much as fiction, is not the opposite of the real but one of its engines.”

Majestic, iridescent, more-than-human: Monira Al Qadiri’s First Sun (2025) reimagines the ancient Egyptian deity Khepri—god of the rising sun—as a contemporary monument at the southeastern entrance of New York’s Central Park. For the Iraqi artist, the gleaming painted aluminum bust of a human-scarab hybrid suggests a future of interspecies kinship, “where even the most humble insects are revered for the essential role they play” in sustaining life on Earth.