Curated by Jack Thomas Taylor and Amal Zeyad Ali, “What’s between, between?” takes over Doha’s Media Majlis Museum (QA). The show takes Gulf Futurism as its starting point—a term describing rapid transformation across the Arabian Peninsula, “where hyper-modernization and clashing visual cultures create a distinctive sense of living between multiple temporalities.” Featuring works by artists from across the Gulf region including Ahaad Alamoudi, Farah Al Qasimi, and Manal AlDowayan, the exhibition refuses a singular definition of the contested aesthetic.

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.

The Infinite Node Foundation launches its permanent Palo Alto (US) hub with “10,000,” the first major exhibition devoted to CryptoPunks (2017), Larva Labs’ (Matt Hall and John Watkinson) canonical PFP (profile picture) NFT collection. Following last year’s acquisition of the collection’s IP from Yuga Labs, NODE positions the algorithmically-generated portraits as a process-based artwork where “the marketplace is a living exchange that hums with activity.”

“Tiffany Chung: indelible traces” at UC Santa Barbara’s Art, Design & Architecture Museum (US) is the Vietnamese American artist’s first museum survey. Spanning 25 years and over 70 works—from embroidered maps to archival investigations of place—Chung excavates suppressed histories that official narratives overlook. A major thru-line: the climate-conflict nexus, “which views climate disasters and armed conflicts as dual systemic causes of forced migration.”

Taking Ludvig Holberg’s proto-sci-fi novel Underground Travels (1741) as its starting point, “Iter Subterraneum” at Bergen Kunsthall (NO) imagines nonhuman ways of sensing and reasoning. Artists including Cecilia Fiona, Wangechi Mutu, and Anicka Yi shift perspective toward plants, fungi, and insects—echoing Holberg’s sentient trees. Naomi Rincón-Gallardo’s Dung Kinship (2024), for example, fantastically chronicles ‘fly women’ and ‘dung folk’ transforming rot into regenerative force.

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.”

In her solo exhibition, “Image Remains,” at Filodrammatica Gallery, Rijeka (HR), Dutch glitch art pioneer and resolution theorist Rosa Menkman explores the “unteathered” digital image—copied, processed, and endlessly circulated across platforms and algorithms. Drawing on Paul Klee’s iconic 1920 painting Angelus Novus, Menkman’s installation, videos, and diagrammatic analysis ask “what is left of the image when its resolution is made destitute, and its appearances are governed.”