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.

“Why Look at Animals? A Case for the Rights of Non-Human Lives” at Athens’ National Museum of Contemporary Art (EMST) explores the animal-human relationship during modernity and how we’ve subjugated and marginalized our fellow creatures. The museum’s 2025 flagship exhibition presents works by over 60 international artists, including Emma Talbot, Maarten Vanden Eynde, Sammy Baloji, Jonas Staal, and Janis Rafa, and is part of a year-round program that puts animal rights and eco-justice centre stage.

Berlin’s panke.gallery celebrates internet culture with the first edition of “мємє яєα∂ιηg ¢ℓυв.” The rules: 20 participants, one sharing circle, everyone arrives with a meme on their phone. “One by one, we show and tell—offering up these fragments of digital culture for collective reflection,” writes host and instigator Damjanski, an internet artist who ‘lives’ in the browser. “We read them aloud, together. Interpretations overlap, clash, unravel. No meme stands alone.”

Hosted by Regina’s MacKenzie Art Gallery (CA) as part of their digital exhibition initiative, “Sedimentary Futures” showcases the 2024 Emerging Digital Artist Award winners. Francisco Gonzalez-Rosas, Moni Omubor, Carmilla Sumantry, and Studio Ekosi stage works in a 3D navigable bog. The eclectic selections span videogames and the moving image, with Quinn Hopkins’ Stellar Narratives (2024, image), for example, presenting a calendar-based AR interface for sharing Anishinaabe night sky stories.

Foundation Herbert W. Franke honours the birthday of the late digital art pioneer (and avid caver) with the republication of his 1999 paper “The Layer Model of Stalagmites.” Originally issued in the Austrian speleology journal Die Höhle, the research digs deep into the simulation and visualization of dripstone caves, featuring Mathematica code examples and “photo-realistic” renderings done in Bryce. Also included: reference photos Franke took spelunking in the 1960s and 70s.

“Her key preoccupation is the trans body, meaning at once transgender, transhuman, and trans-species,” writes McKenzie Wark of Agnes Questionmark. For Art in America, Wark analyzes the Italian artist’s audacious performances, including CHM13hTERT (2023, image), in which Questionmark, seemingly mid-reconstruction into a mermaid-like creature, was suspended in a Milan subway station for 16 days. “Her work gives me hope that we can love things that turn out to be not what was expected,” Wark warmly concludes.

Conceptual artist Heman Chong probes language and knowledge production in “This is a dynamic list and may never be able to satisfy particular standards for completeness” at Singapore Art Museum (SAM). The Singaporean artist’s survey spans two decades of deconstructed texts, featuring Simple Sabotage (2016, image), where instructions from a CIA handbook become wallpaper, and The Library of Unread Books (2016-), an ever-growing archive of neglected books contributed by visitors to his exhibitions.

Agnes Denes‘ The Living Pyramid (2015, image) takes root at MUDAM Luxembourg, marking the latest iteration of her ecological installation first staged at Socrates Sculpture Park (2015) and Documenta (2017). The Hungarian-born land artist has seeded the 9-metre structure with 2,000 local flowering plants. Over 6 months, the structure will blossom, and visitors will share their opinions about the meaning of life; their responses will remain sealed in a time capsule until its unearthing in 1,000 years.