CryptoPunk #110 and Autoglyph #25 by Larva Labs are now on view at the West Bund Museum in Shanghai, as part of Computer Worlds, an exhibition spanning 70 years of computer art from the Centre Pompidou collection, alongside works by Vera Molnár, Manfred Mohr, Herbert Franke, and Cory Arcangel. Curator Philippe Bettinelli sent me a photograph from the opening: a little kid who ran across the gallery to hug the Punk. He apologized for the terrible photo, but I think this photo perfect. I recall when the same Punk first went on view at the Centre Pompidou in Paris in 2023. At the time, the curators were a little nervous about how to present CryptoPunks. They were more accustomed to abstract computer art, and Punks were a strange proposition for a museum; they challenged some pretty fundamental assumptions about what art could or should be. And then a group of teenagers spotted the Punk from across the gallery and ran straight toward it. The curators looked at each other, suddenly reassured. Here was a work they'd spent so much time thinking about how to contextualize, and these kids already had a relationship with it, the Punk quite literally MOVED them. Three years later, a little kid in Shanghai is doing exactly the same thing. And I love how uncomplicated that response is...kids don't run toward art because they've been told it's important. They run toward something they recognize, something that already feels like part of their world. No explanation of the blockchain, no art history, no discussion of ownership or value. Just the simple pleasure of seeing something you love. These little 24×24 pixel portraits have come a long way since 2017, but the instinct to connect with them remains the same. And maybe that's enough?

NODE Studio NYC is thrilled to welcome @LoroMasnah We built the Studio for artists to explore questions. In that spirit, Masnah has joined us to develop “This is Not a CryptoPunk,” a new work bringing @cryptopunks to our community in SoHo.

The 19th iteration of @beeple’s Diffuse Control: ‘The World Arrives Here’ includes artists from the MMoCA’s Langer collection of Japanese prints and European art—such as Utagawa Hiroshige, Rosa Bonheur, and Moïse Kisling––revealing images that move across borders and markets and the curiosity about a wider world that helped shape collecting in Madison, Wisconsin.

See you in one week! If you are coming from out of town for the event, let me know. We will arrange dinner or something after the talk. tamuseum.org.il/en/event/art…

In ‘The Uncanny Familiar’, the six artists–including Gibson Byrd, Gertrude Abercrombie, John Schacht, and others–are united by their transformation of familiar bodies, places, and objects through fantasy, humor, and distortion, reflecting MMoCA's growing focus on late modern and contemporary art. @Beeple On view now at the Madison Museum of Contemporary Art.

We’re thrilled to have added Tyler Hobbs’s "Test Drawing for F(l)ight" to our collection, and glad to support the important work of @rhizome in the process! Created as a preparatory test for @tylerxhobbs 2021 series of NFTs and plotter drawings, "F(l)ight", the work captures an early stage of experimentation with algorithmic manipulation and pen plotting: an attempt to translate organic movement—the flight of a bird—into computational form. When we saw this piece we were struck by the similarities to the Centro de Arte y Comunicación (CAyC) group in Argentina, especially Luis Benedit's 1969 experiment in using computer code to translate the flight of a bee into print. Two artists, separated by more than fifty years, using new technologies to describe and depict the unpredictability of the natural world.

We’re so excited for @beeple’s ‘Diffuse Control’, which opened this past Saturday at Madison Museum of Contemporary Art, curated by Paul Baker Prindle! On view through January 10, 2027. Selected works from MMoCA’s permanent collection become source material for the sculpture’s generative system to produce three distinct iterations: ‘The Uncanny Familiar’, ‘The World Arrives Here’, and ‘Second Glances’.

So proud to see Dmitri's show on view in Tel Aviv!

We’re honored to have received our Auriea Harvey Amulet at last night's naming ceremony @heft_gallery! Everyone meet “Aorta” ❤️

Sonia Gomes, an artist near and dear in our collection

Excited to add @beeple ONE GIANT LEAP (2017) to the Kanbas Collection! Amazing that this 'Everyday' was made almost a decade ago. Technologies keep changing—from stereos to space travel to things that once felt like science fiction—but our fascination with what comes next never really does. TO THE MOON !

Congrats to Andreas Gysin! 👏

Before the term Generative Art became a mainstay, in 1960 in Buenos Aires, Eduardo MacEntyre and Miguel Ángel Vidal declared a movement they called Arte Generativo. By the end of the decade, the ideas expanded further when Jorge Glusberg founded the Grupo de Arte y Cibernética, along with Luis Fernando Benedit and others, artists working alongside engineers and programmers on machines still confined to laboratories and corporations. Their ideas and experiments soon expanded to Montevideo and Lima, and soon internationally. Learn about it in this 1970 film released by our friend ISLAA (the Institute for Studies on Latin American Art), which documents some of their experiments: piped.video/watch?v=-HknwrSo… Please watch. It is the most impactful video we have seen about the history of digital art.

NEXT STOP: Madison! September 19 RSVP now mmoca.org/events/diffuse-con…

We are excited to share that Beeple's mesmerizing work DIFFUSE CONTROL is now traveling to Madison, Wisconsin, opening September 19! See you there 👇

"When you collect a piece, you hold a fragment of Venezuelan light, and you help carry its people through" - from @JNSilva_ cinetica.jnsilva.com Please mint today and support this project and the Venezuelan people

The Squiggle Display in action at the @MuseoMACBA!