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For over 10 years, the artist Anna Ridler has been exploring, and sharing, the possibilities of working creatively with artificial intelligence. She makes her own datasets to train neural networks, and investigates how knowledge, and the language that describes it, is displayed, and shared.

Massimiliano Gioni has been appointed the next Toby Devan Lewis Director of the New Museum, New York. Gioni, who joined the institution as Curator in 2006, and had been its Edlis Neeson Artistic Director since 2014 — a role in which led the curatorial team and was responsible for the exhibition program — takes up his new position on August 1, 2026.

“On the internet, nobody knows you’re a dog” — Peter Steiner Peter Steiner's famous 1993 cartoon has become shorthand for the early internet: a place where anonymity made reinvention possible. Three decades later, anonymity hasn’t disappeared, it has changed shape. Today it lives in memes, avatars, burner accounts, Discord servers, crypto communities, and anonymous image boards. It’s also become one of the places where ideas about masculinity, belonging, and identity are negotiated.

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AllCommentaryResourcesEventsOpportunitiesPromotionMeta Thanks for sharing this @pgervois . Your story is a good reminder that we don't always choose our medium - sometimes our medium chooses us, through circumstance, curiosity, or necessity. Your question also resonates with… I started to create digital art because I was broke, not because I choose the medium xoxo @cvk ! About our new website Thank you @cvk ! Honored to carry forward what you and your team initiated.

The New York gallery bitforms is marking its 25th anniversary in 2026: a quarter-century dedicated to the showing and promoting of digital, internet, time-based, and new media art forms. In that period of rapid advances in software, computing power, and screen technology, the gallery’s ebullient founder, Steven Sacks, has been at the center of the conversation about the lexicon and genealogy of experimental media art, and its presentation in commercial, public and private spaces.

Earlier this year, the artist DeeKay transformed the dense rhythms of Hong Kong into a tapestry of interwoven human stories projected onto the Hong Kong Club Building. Commissioned by Art Basel together with the Hong Kong Tourism Board, Invisible Stories (2026) adapted the artist’s playful aesthetic for a work of public digital art, presenting a bustling intersection populated by dozens of avatars, each carrying their own personal histories.

In the past, the work was all about making the image. Now a huge part of it is self-curation. — David Em What does it mean to occupy the hyphenated space between artist and curator? In a conversation hosted at Goldsmiths, University of London, Right Click Save’s Founding Editor, Alex Estorick, joined the college’s Head of Creative Technology, Rachel Falconer, to examine the evolving figure of the curator-artist — a hybrid actor increasingly central to the ecology of contemporary art.

Now Reading: ‍ Alistair Gentry, Incognito Protestor, 2026. From Folk Heroes of the Pre-Apocalypse character sketches. Courtesy of the Gentry family Gentry’s deliberate rebuttal of Futurism, with its focus on generations to come, specifically zooms in on the needs of disabled people and other marginalised and minoritised people who all “deserve solutions right now”. Sam Le Mort, Alistair Gentry Punk Poster, 2026.

The digital scene seemed to have arrived. After all, Arab Bank Switzerland, backers of the ABS Digital Art Prize, hosted a fête at Les Trois Rois, taking over the luxurious main bar, long associated with the highest echelons of the mega art market. For many, there was a sense of “the gang’s all here”.