Harm van den Dorpel on evolutionary algorithms and blockchain infrastructure as artistic material; The Glass Room and Tactical Tech as a curatorial model for making invisible data systems tangible at scale; and surveillance art criticism finding dedicated institutional homes.

Three practices asking the same structural question from different traditions: what happens when the body becomes a data source, and who decides the terms? Holly Herndon and Mat Dryhurst on consent infrastructure and protocol art; Julien Previeux on patented gestures and the body as IP; Tega Brain on eccentric engineering and purposefully dysfunctional systems.

Three figures who arrived at duration from different directions: Marcel Schwittlick building a practice around fifteen years of recorded cursor movements fed through vintage plotters, Manuela Moscoso treating listening across Pan-Amazonian territory as curatorial methodology, and Toleen Touq curating a biennale called The Long Now from a thesis on autonomous temporalities.

Gaetan Robillard uses the heat generated by ML hardware as a sculptural medium for climate disinformation data. Florence Ostende brings an exhibition-histories framework to Mudam Luxembourg. Plus the 2026 Guggenheim Fellowships and the closure of the CUNY Social Practice Art Program.

Three profiles united by a single question: when a computational system reads a biological body, who owns what it captures? Julien Previeux on gesture patents as choreography, Holly Herndon and Mat Dryhurst on building consent infrastructure, and Tega Brain on ecosystemic engineering that refuses to serve human agendas.

Holly Herndon and Mat Dryhurst on protocolism, Spawning, and consent as infrastructure; Tung-Hui Hu on the cloud as militarized power; and what it means when AI art aestheticizes the systems it should interrogate.

Félix Luque Sánchez autonomous machine practice at iMAL Brussels, the ecological participation discourse signal from WMMNA, and the 2026 Guggenheim Fellowship.

Ryoji Ikeda and Rosa Menkman as structural opposites: one treats data as pure compositional substance scaled to the monumental; the other finds where data breaks and reads the break as evidence. Plus: ZKM TURNS ECO/EXO confirmed with Rojin Sharafi and Lila-Zoe Krauss.

Keller Easterling on infrastructure as operating system and medium design; Eyal Weizman on counter-forensics and the threshold of detectability; and Golan Levin stepping down from institutional peak to teach drawing machines.

Four different answers to how computational and data-driven work becomes legible in the contemporary art world: Huyghe at the Fondation Beyeler, Chus Martinez on art as non-binary intelligence, Monica Bello transitioning from CERN to Platform Dali, and Licia He building community before institutions arrived.