{"data":[{"id":"2323","type":"exhibition","attributes":{"id":2323,"title":"Sonya Kelliher-Combs: TITIQ/MARK","start_time":"2027-02-06T00:00:00.000-05:00","end_time":"2027-09-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Opens Feb 6, 2027","url":"/exhibitions/sonya-kelliher-combs","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eSonya Kelliher-Combs: TITIQ/MARK\u003c/em\u003e highlights nearly two decades of the artist’s explorations of history, cultural continuity, self-determination, and land use through her inventive approaches to artmaking. An Iñupiaq and Koyukon artist based in Anchorage, Alaska, \u003ca href=\"/artists/19839\"\u003eKelliher-Combs\u003c/a\u003e (b. 1969) makes paintings, sculptures, and installations that are deeply informed by generational knowledge. The Iñupiaq word “TITIQ,” which translates to \"MARK\" in English, carries multiple meanings, including the visible and invisible marks of colonialism, as well as the physical mark-making essential to Kelliher-Combs’s practice. The exhibition, which is the artist’s first solo museum show in New York, foregrounds her use of repetition and seriality and includes examples from ongoing bodies of work, such as \u003cem\u003eCurls\u003c/em\u003e, \u003cem\u003eRemnants\u003c/em\u003e, \u003cem\u003eIdiot Strings\u003c/em\u003e, and \u003cem\u003eSecrets\u003c/em\u003e. \u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eKelliher-Combs uses a wide range of artistic mediums, including marine mammal gut, paint, hair, fabric, animal hide, thread, and her own innovations with acrylic polymer. The exhibition will highlight the breadth of these experimentations while grounding her practice in traditional methods of production, like gut processing and sewing. As the first mid-career survey of an Indigenous artist at the Whitney, \u003cem\u003eTITIQ/MARK\u003c/em\u003e expands the Museum’s commitment to presenting a fuller picture of contemporary American art and is an unprecedented opportunity to share the material culture of the Bering Strait region with our audiences, underscoring its ongoing importance in Indigenous communities today.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eSonya Kelliher-Combs: TITIQ/MARK\u003c/em\u003e is co-organized by the Whitney Museum of American Art, New York, and the Anchorage Museum. The exhibition is co-curated by Jennie Goldstein, Marion Boulton “Kippy” Stroud Curator of the Collection, Whitney Museum of American Art, and Julie Decker, Director/CEO, Anchorage Museum, with Rose Pallone, Curatorial Assistant, Whitney Museum of American Art.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eSonya Kelliher-Combs: TITIQ/MARK\u0026nbsp;\u003c/em\u003eis provided by the Adam D. Weinberg Artists First Fund, The Andy Warhol Foundation for the Visual Arts, the Henry Luce Foundation, and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by the Kapadia Equity Fund, Keith Haring Foundation Exhibition Fund, and Sueyun and Gene Locks.\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\"\u003eAdditional support is provided by the Cowles Charitable Trust, the Endeavor Foundation, and the Rasmuson Foundation.\u0026nbsp;\u003c/p\u003e\u003cp\u003eCuratorial research and travel for this exhibition were funded by an endowment established by Rosina Lee Yue and Bert A. Lies, Jr., MD.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823795/Default_Logo_AWF.jpg\" style=\" height: 40px;\"\u003e\u0026nbsp; \u0026nbsp;\u003cimg src=\"https://whitneymedia.org/assets/image/827961/___.png\" style=\" height: 40px;\"\u003e\u003c/p\u003e","primary_media_id":65370,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.00392156862745098,"created_at":"2025-12-18T01:36:54.339-05:00","updated_at":"2026-11-06T13:17:06.075-05:00","block_editor":{"data":{"id":"6095","type":"block_editor","attributes":{"id":6095,"exhibition_id":2323,"page_id":null,"created_at":"2026-06-23T12:37:16.574-04:00","updated_at":"2026-06-23T12:37:16.574-04:00","regions":[]}}}}},{"id":"2426","type":"exhibition","attributes":{"id":2426,"title":"Juan Sánchez: States of Liberation","start_time":"2027-10-01T00:00:00.000-04:00","end_time":"2028-09-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Opens Fall 2027","url":"/exhibitions/juan-sanchez","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eJuan Sánchez: States of Liberation\u003c/em\u003e will be the first traveling retrospective devoted to \u003ca href=\"/artists/4068\"\u003eJuan Sánchez\u003c/a\u003e, one of the founding figures of Latinx art in the United States. For more than four decades, Sánchez has created a powerful and deeply personal body of work rooted in the histories, politics, and spiritual traditions of the working-class and Puerto Rican communities that shaped his upbringing in New York.\u003c/p\u003e\u003cp class=\"large\"\u003eAcross more than 60 works, including paintings, works on paper, photography, and video, the exhibition weaves together the narrative threads of autobiography, community, nation, and utopia. Together, these works offer a comprehensive look at Sánchez’s expansive practice and his sustained engagement with identity, collective memory, colonialism, resistance, and the possibility of social transformation.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eJuan Sánchez: States of Liberation\u003c/em\u003e is co-organized by The Whitney Museum of American Art, New York, and The Phillips Collection, Washington, DC, in collaboration with the Museo de Arte de Puerto Rico. Curated by Marcela Guerrero, DeMartini Family Curator, Whitney Museum of American Art; Tie Jojima, Curator of Global Contemporary Art, The Phillips Collection; and Alejandro Anreus, Guest Curator, with Carina Martinez, Rubio Butterfield Family Fellow, Whitney Museum of American Art.\u003c/p\u003e\u003cp\u003eLeadership support for \u003cem\u003eJuan Sánchez: States of Liberation\u003c/em\u003e is provided by the Ford Foundation and the Mellon Foundation.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/827959/Mellon_Logomark_Lockup_Black_copy.png\" style=\" height: 36px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by the Henry Luce Foundation and the Terra Foundation for American Art. \u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/827961/___.png\" style=\"height: 35px;\"\u003e\u0026nbsp; \u0026nbsp; \u003cimg src=\"https://whitneymedia.org/assets/image/818156/TER_Primary_Lockup_Small.jpg\" style=\"height: 35px;\"\u003e\u003c/p\u003e","primary_media_id":65586,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9803921568627451,"created_at":"2026-04-02T06:00:23.417-04:00","updated_at":"2026-11-06T12:31:23.370-05:00","block_editor":{"data":{"id":"6103","type":"block_editor","attributes":{"id":6103,"exhibition_id":2426,"page_id":null,"created_at":"2026-07-22T11:51:55.709-04:00","updated_at":"2026-07-22T11:51:55.709-04:00","regions":[]}}}}},{"id":"231","type":"exhibition","attributes":{"id":231,"title":"Addie Wagenknecht: Believe me","start_time":"2017-07-10T00:00:00.000-04:00","end_time":"2018-04-04T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2017","url":"/exhibitions/addie-wagenknecht-believe-me","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/18199\"\u003eAddie Wagenknecht\u003c/a\u003e’s \u003cem\u003eBelieve me\u003c/em\u003e references the familiar sight of a device’s broken screen. It overlays the visual effect of cracks on a series of images that can be manipulated and loaded successively by refreshing the browser. Using the seemingly damaged screen as a central metaphor, \u003cem\u003eBelieve me\u003c/em\u003e evokes the distortions that digital technologies impose on their functionality and users' experience of the world. The failed or failing pixels change the colors, spaces, and meanings of the project’s imagery, which ranges from politically charged scenes to the vernacular of the online environment, familiar interface elements, and internet folklore. The slightly glitched, broken, abstracted yet readable imagery of \u003cem\u003eBelieve me\u003c/em\u003e—the two most frequently used words by Donald Trump according to sociolinguist Jennifer Sclafani’s\u0026nbsp;\u003ca href=\"https://www.cnn.com/2017/04/21/politics/donald-trump-president-speeches-favorite-phrases-trnd/index.html\"\u003e2017 analysis for CNN\u003c/a\u003e—questions the status of reality as mediated through screens in a “fake news” and “post-truth” environment.\u003c/p\u003e","primary_media_id":2915,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.6941176470588235,"created_at":"2017-07-10T15:24:19.000-04:00","updated_at":"2026-11-05T21:45:09.839-05:00","block_editor":{"data":{"id":"2369","type":"block_editor","attributes":{"id":2369,"exhibition_id":231,"page_id":null,"created_at":"2025-06-16T12:34:35.008-04:00","updated_at":"2025-06-16T12:34:35.008-04:00","regions":[{"data":{"id":"22157","type":"region","attributes":{"id":22157,"position":1,"columns":12,"block_editor_id":2369,"created_at":"2025-02-19T09:52:00.992-05:00","updated_at":"2025-02-19T09:52:00.992-05:00","region_components":[{"data":{"id":"40428","type":"region_component","attributes":{"id":40428,"component_id":14698,"component_type":"TextComponent","position":1,"region_id":22157,"created_at":"2025-02-19T09:52:00.998-05:00","updated_at":"2025-02-19T09:52:01.007-05:00","component":{"data":{"id":"14698","type":"component","attributes":{"id":14698,"exhibition_id":231,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAddie Wagenknecht\u003c/strong\u003e (b. 1981; Portland, Oregon) blends conceptual art with forms of hacking and gestural abstraction. Wagenknecht is known for pioneering the use of drones in painting and other mechanized forms of art in the early 2000s while based in New York. She has collaborated with CERN (European Organization for Nuclear Research, Switzerland), Chanel, Coinbase, and Google’s Art Machine Intelligence (AMI) Group.\u003c/p\u003e\u003cp class=\"large\"\u003eHer works have been collected by and exhibited at institutions including MuseumsQuartier, Vienna; La Gaîté Lyrique, Paris; Istanbul Modern; Whitechapel Gallery, London; the New Museum, New York; and MU Hybrid Art House, Eindhoven, Netherlands. She has been featured in publications such as \u003cem\u003eTime\u003c/em\u003e, the \u003cem\u003eWall Street Journal\u003c/em\u003e, \u003cem\u003eVanity Fair\u003c/em\u003e, \u003cem\u003eArt in America\u003c/em\u003e, and the \u003cem\u003eNew York Times\u003c/em\u003e.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"273","type":"exhibition","attributes":{"id":273,"title":"Jonah Brucker-Cohen and Katherine Moriwaki: America's Got No Talent","start_time":"2012-01-01T00:00:00.000-05:00","end_time":"2012-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2012","url":"/exhibitions/americas-got-no-talent","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"http://www.americasgot-notalent.com/\"\u003e\u003cem\u003eAmerica's Got No Talent\u003c/em\u003e\u003c/a\u003e is a web-based software project by \u003ca href=\"/artists/8939\"\u003eJonah Brucker-Cohen\u003c/a\u003e and \u003ca href=\"/artists/15260\"\u003eKatherine Moriwaki\u003c/a\u003e that synthesizes and processes the steady stream of Twitter (now X) feeds for several American reality television shows such as \u003cem\u003eAmerican Idol\u003c/em\u003e and \u003cem\u003eAmerica’s Got Talent\u003c/em\u003e, over the course of a few years. The project highlights how the shows gain notoriety through social media: it displays when tweets were sent and how much bias was gathered for each program based on retweets from the fans and followers of the shows. The visualization takes the form of a horizontal bar graph in the shape of an American flag that updates dynamically. Each show’s virtual presence grows in size based on the amount of attention it receives from social media users worldwide, creating a measurement meter that ranks popular media on their social exposure, rather than their credit as viable media sources.\u003c/p\u003e\u003cp\u003eCommissioned with support provided by Jeremy Levine.\u003c/p\u003e","primary_media_id":2682,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.403921568627451,"created_at":"2018-07-17T10:54:06.000-04:00","updated_at":"2026-11-05T21:41:11.127-05:00","block_editor":{"data":{"id":"2425","type":"block_editor","attributes":{"id":2425,"exhibition_id":273,"page_id":null,"created_at":"2025-06-16T12:34:36.460-04:00","updated_at":"2025-06-16T12:34:36.460-04:00","regions":[{"data":{"id":"22174","type":"region","attributes":{"id":22174,"position":1,"columns":12,"block_editor_id":2425,"created_at":"2025-02-19T09:52:01.469-05:00","updated_at":"2026-02-03T16:16:19.691-05:00","region_components":[{"data":{"id":"40445","type":"region_component","attributes":{"id":40445,"component_id":14713,"component_type":"TextComponent","position":1,"region_id":22174,"created_at":"2025-02-19T09:52:01.477-05:00","updated_at":"2026-02-03T16:16:19.703-05:00","component":{"data":{"id":"14713","type":"component","attributes":{"id":14713,"exhibition_id":273,"text":"\u003cdiv\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eJonah Brucker-Cohen\u003c/strong\u003e (b. 1975; Washington, District of Columbia) is a researcher, artist, writer, and associate professor of digital media and networked culture at Lehman College, City University of New York. He received his PhD in disruptive design from Trinity College, Dublin. His work focuses on deconstructing networks and includes more than one hundred creative projects that critically challenge and subvert accepted perceptions of network interaction and experience. His work has been exhibited at venues such as the Whitney Museum of American Art and the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Tate Modern and the Institute of Contemporary Arts, London; Palais de Tokyo, Paris; Ars Electronica, Linz, Austria; Transmediale, Berlin; and ZKM Center for Art and Media Karlsruhe, Germany; among others.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eKatherine Moriwaki\u003c/strong\u003e (b. 1975; Torrance, California) is an associate professor of media design with a focus on interaction design and artistic practice at Parsons School of Design, New School, New York.\u003c/p\u003e\u003cp class=\"large\"\u003eHer work has appeared in numerous festivals and conferences including numer.02 at Centre Pompidou, Futuresonic, Break 2.2, SIGGRAPH, eculture fair, Transmediale, ISEA (International Symposium on Electronic Art), Ars Electronica, WIRED Nextfest, and Maker Faire. She has been published in a wide range of venues such as Rhizome, Ubicomp, CHI (Conference on Human Factors in Computing Systems), ISEA, NIME (New Interfaces for Musical Expression), the European Transport Conference, and \u003cem\u003eAI \u0026amp; Society: Journal of Knowledge, Culture, and Communication\u003c/em\u003e.\u003c/p\u003e\u003c/div\u003e"}}}}}}]}}}]}}}}},{"id":"277","type":"exhibition","attributes":{"id":277,"title":"Andy Deck: Screening Circle","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2006","url":"/exhibitions/screening-circle","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8253\"\u003eAndy Deck\u003c/a\u003e’s \u003cem\u003e\u003ca href=\"http://www.artcontext.net/act/05/screeningCircle/\"\u003eScreening Circle\u003c/a\u003e\u003c/em\u003e adapts the cultural tradition of the quilting circle to an online format. Visitors to the site can enter the drawing area to compose loops of graphics and affect and edit one another’s screens. The pieces can be made by one person or by several people, and the arrangement of the segments thus can register as either haphazard or precise. In the screening area, the resulting motion graphics are on view instantaneously. The “circle” invoked in the title refers to the circle of participants and also, indirectly, to the loop of images produced. “Screening” references the pre-release playback of a cinematic work during the filmmaking process, a kind of viewing that allows people to exert some influence over the final product.\u003c/p\u003e\u003cp\u003e\u003cem\u003eScreening Circle\u003c/em\u003e was the third in a series of three works co-commissioned in collaboration with Tate Online. Critical texts and video interviews with the artists accompany the works at Tate.\u0026nbsp;\u003c/p\u003e\u003cp\u003eRead more at \u003ca href=\"http://www.tate.org.uk/intermediaart/entry15384.shtm\"\u003etate.org.uk\u003c/a\u003e.\u003c/p\u003e","primary_media_id":2567,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.3686274509803922,"created_at":"2018-07-20T10:33:08.000-04:00","updated_at":"2026-11-05T21:19:54.731-05:00","block_editor":{"data":{"id":"2433","type":"block_editor","attributes":{"id":2433,"exhibition_id":277,"page_id":null,"created_at":"2025-06-16T12:34:36.613-04:00","updated_at":"2025-06-16T12:34:36.613-04:00","regions":[{"data":{"id":"22177","type":"region","attributes":{"id":22177,"position":1,"columns":12,"block_editor_id":2433,"created_at":"2025-02-19T09:52:01.570-05:00","updated_at":"2026-02-03T16:17:06.379-05:00","region_components":[{"data":{"id":"40448","type":"region_component","attributes":{"id":40448,"component_id":14716,"component_type":"TextComponent","position":1,"region_id":22177,"created_at":"2025-02-19T09:52:01.577-05:00","updated_at":"2026-02-03T16:17:06.393-05:00","component":{"data":{"id":"14716","type":"component","attributes":{"id":14716,"exhibition_id":277,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAndy Deck\u003c/strong\u003e (b. 1968; Monterey, California) has been at the forefront of aesthetic research into the creative possibilities of the internet as a medium. Deck combines code, text, and image to demonstrate new patterns of participation and control that distinguish online presence and representation from previous artistic practices. Deck has shown his works in numerous online exhibitions and at venues such as Moving Image Gallery (1999–2001),\u0026nbsp;\u003ca href=\"https://www.postmastersart.com/\" target=\"_blank\" rel=\"noreferrer noopener\"\u003ePostmasters Gallery\u003c/a\u003e (1984–2025), MediaNoche (2003–16), Location One (1998–2013), and MoMA PS1 in New York; ZKM Center for Art and Media Karlsruhe, Germany; Museum of Contemporary Art, Barcelona; Machida City Museum of Graphic Arts, Tokyo; HTTP Gallery, London; Mejan Labs (2006–8), Royal Academy of Fine Arts, Stockholm; Plato Sanat, Istanbul (2013–17); Wood Street Galleries, Pittsburgh; and the Walker Art Center, Minneapolis. His work has been awarded prizes and honorary mentions by LÚMEN_EX Digital Art Awards (2011); Prix Ars Electronica (1998); the Webby Awards (2003); VIDA 4.0 (2001); the Biennial of Ibiza (2009), and the Web Biennial 10, Istanbul (2010), among others.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"275","type":"exhibition","attributes":{"id":275,"title":"Marc Lafia and Fang-Yu Lin:\u003cbr\u003eThe Battle Of Algiers","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2006/2018","url":"/exhibitions/battle-of-algiers","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/10377\"\u003eMarc Lafia\u003c/a\u003e and \u003ca href=\"/artists/15352\"\u003eFang-Yu Lin\u003c/a\u003e’s \u003cem\u003eThe Battle of Algiers\u003c/em\u003e recomposes scenes from the 1966 film of the same title by Italian director Gillo Pontecorvo. The original film is a reenactment of the Algerian nationalist struggle leading to independence from France in 1962. The success of the actual battle for independence has been attributed to the nationalists’ organization: a pyramidal structure of self-organized cells. Lafia and Lin recomposed the film along a cell-based structure, in which the French Authority and Algerian Nationalist cells are represented by stills from the film and move according to different rule sets. When cells of the opposing camps intersect, they trigger videos displaying each side’s tactics (as depicted in the film) according to the rules of the system.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eThe Battle of Algiers\u003c/em\u003e was updated in 2018 to work in modern web browsers with a new user interface, as part of \u003ca href=\"/exhibitions/programmed\"\u003e\u003cem\u003eProgrammed: Rules, Codes, and Choreographies in Art, 1965–2018\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\u003cp\u003eThe Battle of Algiers was the second in a series of three works co-commissioned in collaboration with Tate Online. Critical texts and video interviews with the artists accompany the works at Tate.\u003c/p\u003e\u003cp\u003eRead more about the work and its 2018 reconstruction at \u003ca href=\"https://www.tate.org.uk/research/reshaping-the-collectible/net-art-commissions-artwork-texts/the-battle-of-algiers-2006-marc-lafia-and-fang-yu-lin\"\u003etate.org.uk\u003c/a\u003e.\u003c/p\u003e","primary_media_id":64901,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.4392156862745098,"created_at":"2018-07-20T09:29:36.000-04:00","updated_at":"2026-11-05T19:06:28.556-05:00","block_editor":{"data":{"id":"2429","type":"block_editor","attributes":{"id":2429,"exhibition_id":275,"page_id":null,"created_at":"2025-06-16T12:34:36.549-04:00","updated_at":"2025-06-16T12:34:36.549-04:00","regions":[{"data":{"id":"22176","type":"region","attributes":{"id":22176,"position":1,"columns":12,"block_editor_id":2429,"created_at":"2025-02-19T09:52:01.539-05:00","updated_at":"2026-04-13T10:15:20.231-04:00","region_components":[{"data":{"id":"40447","type":"region_component","attributes":{"id":40447,"component_id":14715,"component_type":"TextComponent","position":1,"region_id":22176,"created_at":"2025-02-19T09:52:01.548-05:00","updated_at":"2026-04-13T10:15:20.245-04:00","component":{"data":{"id":"14715","type":"component","attributes":{"id":14715,"exhibition_id":275,"text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/10377\"\u003e\u003cstrong\u003eMarc Lafia\u003c/strong\u003e\u003c/a\u003e (b. 1955; Philadelphia, Pennsylvania) is an artist and filmmaker whose work explores how network culture changes our relationship to knowledge, memories, and our bodies, producing new subjectivities and ways of interacting with the world. For Lafia, computation and algorithmic procedures allow for the production of new structures of organizing image and information, as well as new ways of distributing affects and emotions. Lafia’s works have been exhibited at the Walker Art Center, Minneapolis; the Whitney Museum of American Art, New York; Tate Online; ZKM Center for Art and Media Karlsruhe, Germany; the Centre Pompidou, Paris; Anthology Film Archives, New York; International Film Festival, Rotterdam, Netherlands; and in China at the Minsheng Art Museum, Shanghai, and the 2014 Shenzhen Sculpture Biennale. He has taught in California at Stanford University, the San Francisco Art Institute, and Art Center College of Design in Pasadena, as well as at Pratt Institute and Columbia University in New York.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/15352\"\u003e\u003cstrong\u003eFang-Yu Lin\u003c/strong\u003e\u003c/a\u003e (b. 1973, Taipei, Taiwan) is a new media artist and technologist. Focusing on internet art and interactive installation, Fang’s work reflects the interplay of human experience, culture, and technology. In addition to receiving an honorary mention from Prix Ars Electronica (2005), his works have been featured in venues such as Tate Online; FILE \u0026nbsp;Electronic Language International Festival, Brazil; Seoul New Media Festival; Les Rencontres Internationales, Bauhaus Dessau, Germany; and SIGGRAPH. Fang coauthored, with Alison Lewis, \u003cem\u003eSwitch Craft: Battery-Powered Crafts to Make and Sew\u003c/em\u003e (2008), a wearable-technology DIY book. He holds an MFA in design and technology from Parsons School of Design, The New School, and an MS in information from the University of Michigan.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"278","type":"exhibition","attributes":{"id":278,"title":"Golan Levin, with Kamal Nigam and Jonathan Feinberg: The Dumpster","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2006/2026","url":"/exhibitions/the-dumpster","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe Dumpster\u003c/em\u003e is an interactive online visualization that attempts to depict a slice through the romantic lives of American teenagers. Using real postings extracted from millions of online blogs, visitors to the project can browse through tens of thousands of specific romantic relationships in which one person has “dumped” another. The project’s graphic tools reveal the astonishing similarities and unique differences of these failed relationships, as well as their underlying patterns, providing viewers with both peculiarly analytic and sympathetically intimate perspectives on the diversity of global romantic pain.\u003c/p\u003e\u003cp class=\"large\"\u003eOriginally created by \u003ca href=\"/artists/8450\"\u003eGolan Levin\u003c/a\u003e, with Kamal Nigam and Jonathan Feinberg, \u003cem\u003eThe Dumpster\u003c/em\u003e was updated by Levin in 2026 to work with modern web browsers without emulation.\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe Dumpster\u003c/em\u003e was the first in a series of three works co-commissioned in collaboration with \u003ca href=\"https://web.archive.org/web/20250818121506/https://www.tate.org.uk/intermediaart/entry15385.shtm\"\u003eTate Online\u003c/a\u003e. Critical texts and video interviews with the artists accompany the works at Tate.\u003c/p\u003e","primary_media_id":57872,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.3411764705882353,"created_at":"2018-07-20T10:35:41.000-04:00","updated_at":"2026-11-05T19:00:16.382-05:00","block_editor":{"data":{"id":"2435","type":"block_editor","attributes":{"id":2435,"exhibition_id":278,"page_id":null,"created_at":"2025-06-16T12:34:36.648-04:00","updated_at":"2025-06-16T12:34:36.648-04:00","regions":[{"data":{"id":"22178","type":"region","attributes":{"id":22178,"position":1,"columns":12,"block_editor_id":2435,"created_at":"2025-02-19T09:52:01.597-05:00","updated_at":"2025-11-25T13:36:31.536-05:00","region_components":[{"data":{"id":"40449","type":"region_component","attributes":{"id":40449,"component_id":14717,"component_type":"TextComponent","position":1,"region_id":22178,"created_at":"2025-02-19T09:52:01.606-05:00","updated_at":"2025-11-25T13:36:31.544-05:00","component":{"data":{"id":"14717","type":"component","attributes":{"id":14717,"exhibition_id":278,"text":"\u003cp class=\"large\"\u003e\u003ca href=\"http://www.flong.com/\"\u003e\u003cstrong\u003eGolan Levin\u003c/strong\u003e\u003c/a\u003e (b. 1972; New York, New York) is an artist, engineer, researcher, and educator interested in intersections of machine code, visual culture, and critical making. Levin applies creative twists to digital technologies that highlight our relationship with machines, expand the vocabulary of human action, and awaken participants to their potential as creative actors. His projects have engaged themes such as aesthetics of nonverbal interaction and information visualization as a mode of critical inquiry. Levin is a professor of electronic art at Carnegie Mellon University, Pittsburgh.\u003c/p\u003e\u003cp class=\"large\"\u003eHis work is included in the collection of the Museum of Modern Art, New York, was shown in the \u003ca href=\"/exhibitions/biennial-2004\"\u003e2004 Whitney Biennial\u003c/a\u003e, and has been recognized with grants from the National Endowment for the Arts, the National Endowment for the Humanities, Creative Capital, the Rockefeller Foundation, and others. A two-time TED speaker, Levin was named one of Fifty Designers Shaping the Future by \u003cem\u003eFast Company\u003c/em\u003e magazine in October 2012.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"http://www.kamalnigam.com/\"\u003e\u003cstrong\u003eKamal Nigam\u003c/strong\u003e\u003c/a\u003e (b. 1972; Princeton, New Jersey) has expertise in data mining and machine learning, with an emphasis on analyzing text and internet data. He held positions as senior engineering director at Google, Pittsburgh, and director of applied research at Intelliseek, Pittsburgh, and was executive director of The Hear Foundation, Pittsburgh. Nigam has a doctorate in computer science from Carnegie Mellon University, Pittsburgh, and a bachelor’s degree in Mathematics with Computer Science and Cognitive Science from the Massachusetts Institute of Technology, Cambridge.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003e\u003ca href=\"http://www.mrfeinberg.com/\"\u003eJonathan Feinberg\u003c/a\u003e\u003c/strong\u003e (b. 1968; Dallas, Texas) has over twenty years of experience as a generalist software engineer, with long tenures at Google and IBM Research.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"280","type":"exhibition","attributes":{"id":280,"title":"Casey Reas:\u003cbr\u003e{Software} Structures","start_time":"2004-08-01T00:00:00.000-04:00","end_time":"2005-07-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"2004/2016","url":"/exhibitions/software-structures","primary_text":"\u003cp class=\"large\"\u003eInspired by Sol LeWitt’s wall drawings, \u003cem\u003e{Software} Structures\u003c/em\u003e explores how conceptual art relates to the idea of software as art. \u003ca href=\"http://reas.com\"\u003eCasey Reas\u003c/a\u003e created three unique structures—text descriptions outlining dynamic relations between elements—that were then implemented: twenty-six pieces of software derived from the textual structures were coded to isolate different components, including interpretation, material, and process. For each of them, viewers can see the software, source code, and comments.\u003c/p\u003e\u003cp class=\"large\"\u003e“I had a simple question: Is the history of conceptual art relevant to the idea of software as art?” explains Reas. “I began to answer the question by implementing three of Lewitt’s drawings in software and then making modifications. After working with the LeWitt plans, I created three structures unique to software. . . . They develop in the vague domain of image and then mature in the more defined structures of natural language before any thought is given to a specific machine implementation.”\u003c/p\u003e\u003cp class=\"large\"\u003eOriginally created by Casey Reas with \u003ca href=\"http://levitated.net/\" target=\"_self\"\u003eJared Tarbell\u003c/a\u003e, \u003ca href=\"http://flight404.com/\"\u003eRobert Hodgin\u003c/a\u003e, and \u003ca href=\"http://metaphorical.net/\"\u003eWilliam Ngan\u003c/a\u003e, \u003cem\u003e{Software} Structures\u003c/em\u003e was restored by Reas in 2016 to work with contemporary web browsers. The original software was created as Java Applets which are no longer widely supported. The updated version uses JavaScript to be more accessible.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://artport.whitney.org/commissions/software-structures-2016/text.html\"\u003eRead more about this project\u003c/a\u003e.\u003c/p\u003e\u003cp\u003eSome of the works within this project rely on Flash or Java applets, emulated through \u003ca href=\"https://ruffle.rs/\"\u003eRuffle\u003c/a\u003e and \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e","primary_media_id":2571,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.8705882352941177,"created_at":"2018-07-20T10:47:29.000-04:00","updated_at":"2026-11-05T18:51:10.437-05:00","block_editor":{"data":{"id":"2439","type":"block_editor","attributes":{"id":2439,"exhibition_id":280,"page_id":null,"created_at":"2025-06-16T12:34:36.720-04:00","updated_at":"2025-06-16T12:34:36.720-04:00","regions":[{"data":{"id":"24878","type":"region","attributes":{"id":24878,"position":1,"columns":12,"block_editor_id":2439,"created_at":"2026-11-05T18:51:10.395-05:00","updated_at":"2026-11-05T18:51:10.395-05:00","region_components":[{"data":{"id":"45915","type":"region_component","attributes":{"id":45915,"component_id":16398,"component_type":"TextComponent","position":1,"region_id":24878,"created_at":"2026-11-05T18:51:10.416-05:00","updated_at":"2026-11-05T18:51:10.416-05:00","component":{"data":{"id":"16398","type":"component","attributes":{"id":16398,"exhibition_id":280,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eCasey Reas\u003c/strong\u003e (b. 1972; city, state) creates software, prints, and installations that have been featured in numerous solo and group exhibitions at museums and galleries in the United States, Europe, and Asia. His work ranges from small works on paper to urban-scale installations, and he balances solo work in the studio with collaborations with architects and musicians. Reas’s work is in both private and public collections, including the Centre Pompidou, Paris, and the San Francisco Museum of Modern Art. Reas is a professor at the University of California, Los Angeles. He holds a master’s degree in media arts and sciences from the Massachusetts Institute of Technology, Cambridge. In 2001, Reas and Ben Fry initiated Processing, an open-source programming language and environment for the visual arts.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2321","type":"exhibition","attributes":{"id":2321,"title":"CODeDOC","start_time":"2002-09-01T00:00:00.000-04:00","end_time":"2002-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"Sept 2002","url":"/exhibitions/codedoc","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCODeDOC\u003c/em\u003e is an exhibition consisting of twelve small commissioned works. The project takes a reverse look at “software art” by focusing on and comparing the “back end” of the code that drives the artwork's “front end”—the result of the code, be it visuals or a more abstract communication process.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eA second installment of CODeDOC with eight additional artists was commissioned by Ars Electronica for the 2003 Ars Electronica Festival \u003ca href=\"https://webarchive.ars.electronica.art/code.html\"\u003e\u003cem\u003eCODE–The Language of our Time\u003c/em\u003e\u003c/a\u003e. CODeDOC II launched on September 6, 2003.\u003c/p\u003e","primary_media_id":65323,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.00784313725490196,"created_at":"2025-12-09T09:59:04.559-05:00","updated_at":"2026-11-05T18:46:52.502-05:00","block_editor":{"data":{"id":"5944","type":"block_editor","attributes":{"id":5944,"exhibition_id":2321,"page_id":null,"created_at":"2025-12-09T09:59:04.765-05:00","updated_at":"2025-12-09T09:59:04.765-05:00","regions":[{"data":{"id":"23755","type":"region","attributes":{"id":23755,"position":1,"columns":12,"block_editor_id":5944,"created_at":"2026-01-20T19:04:15.780-05:00","updated_at":"2026-04-01T11:51:50.334-04:00","region_components":[{"data":{"id":"43666","type":"region_component","attributes":{"id":43666,"component_id":15693,"component_type":"TextComponent","position":1,"region_id":23755,"created_at":"2026-01-20T19:04:15.800-05:00","updated_at":"2026-04-01T11:51:50.345-04:00","component":{"data":{"id":"15693","type":"component","attributes":{"id":15693,"exhibition_id":2321,"text":"\u003ch2\u003eCuratorial statement\u003c/h2\u003e\u003cp class=\"large\"\u003eA dozen artists coded a specific \u003ca href=\"https://artport.whitney.org/commissions/codedoc/CODeDOC.html\"\u003eassignment\u003c/a\u003e in a language of their choice and were asked to exchange the code with each other for comments. The assignment was to “connect and move three points in space,” which obviously could be interpreted in a literal or abstract way. The “core” of the code (commonly referred to as the “main”) was not to exceed 8KB, which equals a fairly short text document. The results of the programming are made visible only after the code—what visitors to this site encounter first is a text document of code from which they can launch the front end of the project. The languages in which the code is written are Java, C, Visual Basic, Lingo and Perl. Obviously, this is only a selection of scripting and programming languages. HTML (Hypertext Markup Language), the scripting language on which the World Wide Web is based, and Flash Script were excluded mostly for pragmatic reasons (the inclusion of these languages probably would have doubled the number of artists, making the project unwieldy). Not all of the artists originally invited were able to participate in \u003cem\u003eCODeDOC\u003c/em\u003e due to their busy schedules.\u003c/p\u003e\u003cp class=\"large\"\u003eThe category of software art, commonly used for artist-written software, is a manifestation of fairly blurry terminology. Software is generally defined as formal instructions that can be executed by a computer. However, there is no digital art that doesn't have a layer of code and algorithms, a procedure of formal instructions that accomplish a \"result\" in a finite number of steps. Even if the physical and visual manifestations of digital art distract from the layer of data and code, any 'digital image' has ultimately been produced by instructions and the software that was used to create or manipulate it. It is precisely this layer of 'code' and instructions that constitutes a conceptual level which connects to previous artistic work such as Dada's experiments with formal variations and the conceptual pieces by \u003ca href=\"/artists/1715\"\u003eDuchamp\u003c/a\u003e, \u003ca href=\"/artists/212\"\u003eCage\u003c/a\u003e and \u003ca href=\"/artists/776\"\u003eSol LeWitt\u003c/a\u003e that are based on the execution of instructions.\u003c/p\u003e\u003cp class=\"large\"\u003eWhat distinguishes software art from other artistic practices, is that, unlike any form of visual art, it requires the artist to write a purely verbal description of their work. In traditional art forms, the 'signature' and 'voice' of an artist manifests itself in aesthetics of visuals and execution. Every medium may have its specific language but in digital art, this language has a quite literal rather than figurative manifestation. In software art, the visual results of the artwork are derived from the language of code. Languages are defined by grammar and complex rules and at the same time leave space for individual forms of creative expression. Our identity and the roles we play are expressed in our use of language. One might assume that the aesthetics of artists who write their own source code manifest themselves both in the code itself and its visual results. Artist \u003ca href=\"/artists/5339\"\u003eJohn F. Simon, Jr.\u003c/a\u003e (who wasn't able to participate in the project) has talked about code as a form of creative writing. Code has also been referred to as the medium, the 'paint and canvas,' of the digital artist but it transcends this metaphor in that it even allows artists to write their own tools—to stay with the metaphor, the medium in this case also enables the artist to create the paintbrush and palette.\u003c/p\u003e\u003cp class=\"large\"\u003eThe projects featured as part of \u003cem\u003eCODeDOC\u003c/em\u003e are expressions of distinct artistic signatures: the conceptual approach to the project, the way the code has been written, and the results produced by it reveal a lot about the respective artist. Some of the artists interpret the assignment in a predominantly graphic, visual way; others connect points in the global network of the Internet; one project explicitly treats the language of code as a narrative connecting three \"characters\"; another one creates a meta-layer for profiling the code itself, collapsing the boundaries between front end and back end; yet another project focuses on \"language abuse\" and illegal instructions.\u003c/p\u003e\u003cp class=\"large\"\u003eIntrinsic to software art is a procedural element that allows for reconfiguration and extension, and, as way of commenting on the projects, artists started to 'remix' their work, applying their own code to other projects or combining sections of code into a new project.\u003c/p\u003e\u003cp class=\"large\"\u003eOne does not need to be a programmer and have an in-depth understanding of computer languages to establish a connection between the code and its respective results: even a glance at the artists' source code will reveal certain mathematical functions, and in many cases, the artists' comments on their writing clarify the functionality of a line or section of the code. In some cases, reading the source code will enhance the perception of the work; in other cases, the code doesn't necessarily add to the projects. \u003cem\u003eCODeDOC\u003c/em\u003e is an endeavor to take a closer look at the process of this particular artistic practice, and to raise questions about the parameters of artistic creation.\u003c/p\u003e\u003cp class=\"large\"\u003e—Christiane Paul, Curator of Digital Art\u003c/p\u003e"}}}}}},{"data":{"id":"43667","type":"region_component","attributes":{"id":43667,"component_id":3648,"component_type":"HorizontalRuleComponent","position":2,"region_id":23755,"created_at":"2026-01-20T19:38:55.532-05:00","updated_at":"2026-04-01T11:51:50.355-04:00","component":{"data":{"id":"3648","type":"component","attributes":{"id":3648,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24533","type":"region","attributes":{"id":24533,"position":2,"columns":4,"block_editor_id":5944,"created_at":"2026-06-30T15:30:38.296-04:00","updated_at":"2026-06-30T15:30:38.296-04:00","region_components":[{"data":{"id":"45074","type":"region_component","attributes":{"id":45074,"component_id":15976,"component_type":"MediaComponent","position":1,"region_id":24533,"created_at":"2026-07-02T12:14:41.832-04:00","updated_at":"2026-07-02T12:14:41.832-04:00","component":{"data":{"id":"15976","type":"component","attributes":{"id":15976,"exhibition_id":2321,"media_id":65317,"url":"https://artport.whitney.org/commissions/codedoc/Levin/index.html"}}}}}}]}}},{"data":{"id":"23756","type":"region","attributes":{"id":23756,"position":3,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:34:48.911-05:00","updated_at":"2026-06-30T15:30:38.451-04:00","region_components":[{"data":{"id":"43488","type":"region_component","attributes":{"id":43488,"component_id":15644,"component_type":"TextComponent","position":1,"region_id":23756,"created_at":"2025-12-09T09:59:04.919-05:00","updated_at":"2026-04-01T11:51:50.370-04:00","component":{"data":{"id":"15644","type":"component","attributes":{"id":15644,"exhibition_id":2321,"text":"\u003ch2\u003eAxis\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8450\"\u003e\u003cstrong\u003eGolan Levin\u003c/strong\u003e\u003c/a\u003e (b. 1972; New York, New York) is an artist, engineer, researcher, and educator interested in intersections of machine code, visual culture, and critical making. Levin applies creative twists to digital technologies that highlight our relationship with machines, expand the vocabulary of human action, and awaken participants to their potential as creative actors. His projects have engaged themes such as aesthetics of nonverbal interaction and information visualization as a mode of critical inquiry. Levin is a professor of electronic art at Carnegie Mellon University, Pittsburgh.\u003c/p\u003e\u003cp class=\"large\"\u003eHis work is included in the collection of the Museum of Modern Art, New York, was shown in the \u003ca href=\"/exhibitions/biennial-2004\"\u003e2004 Whitney Biennial\u003c/a\u003e, and has been recognized with grants from the National Endowment for the Arts, the National Endowment for the Humanities, Creative Capital, the Rockefeller Foundation, and others. A two-time TED speaker, Levin was named one of Fifty Designers Shaping the Future by \u003cem\u003eFast Company\u003c/em\u003e magazine in October 2012.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Levin/index.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Levin/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e\u003cp\u003eThis project relies on Java applets, emulated through \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24540","type":"region","attributes":{"id":24540,"position":4,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.496-04:00","updated_at":"2026-07-02T12:18:36.496-04:00","region_components":[{"data":{"id":"45076","type":"region_component","attributes":{"id":45076,"component_id":3741,"component_type":"HorizontalRuleComponent","position":1,"region_id":24540,"created_at":"2026-07-02T12:18:36.505-04:00","updated_at":"2026-07-02T12:18:36.505-04:00","component":{"data":{"id":"3741","type":"component","attributes":{"id":3741,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24539","type":"region","attributes":{"id":24539,"position":5,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:14:41.845-04:00","updated_at":"2026-07-02T12:14:41.845-04:00","region_components":[{"data":{"id":"45075","type":"region_component","attributes":{"id":45075,"component_id":15977,"component_type":"MediaComponent","position":1,"region_id":24539,"created_at":"2026-07-02T12:14:41.853-04:00","updated_at":"2026-07-02T12:14:41.853-04:00","component":{"data":{"id":"15977","type":"component","attributes":{"id":15977,"exhibition_id":2321,"media_id":65318,"url":"https://artport.whitney.org/commissions/codedoc/Napier/code.html"}}}}}}]}}},{"data":{"id":"23673","type":"region","attributes":{"id":23673,"position":6,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.773-05:00","updated_at":"2026-07-02T12:14:41.905-04:00","region_components":[{"data":{"id":"43492","type":"region_component","attributes":{"id":43492,"component_id":15646,"component_type":"TextComponent","position":1,"region_id":23673,"created_at":"2025-12-09T09:59:05.002-05:00","updated_at":"2026-04-01T11:51:50.400-04:00","component":{"data":{"id":"15646","type":"component","attributes":{"id":15646,"exhibition_id":2321,"text":"\u003ch2\u003e3 Dots\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8203\"\u003e\u003cstrong\u003eMark Napier\u003c/strong\u003e\u003c/a\u003e (b. 1961; Springfield, New Jersey), began creating artwork exclusively for the web in 1995. He has produced a wide range of internet projects, including \u003cem\u003eThe Shredder\u003c/em\u003e (1998), an alternative browser that dematerializes the web; \u003cem\u003eDigital Landfill\u003c/em\u003e (1998), an endless archive of digital debris; and \u003cem\u003eBots\u003c/em\u003e (2000), a tool for building unique pop-culture icons from parts. Napier has created commissioned projects for the Guggenheim Museum, New York (2002); the exhibition \u003cem\u003e010101\u003c/em\u003e (2001) at the San Francisco Museum of Modern Art; and \u003ca href=\"/exhibitions/data-dynamics\"\u003e\u003cem\u003eData Dynamics\u003c/em\u003e\u003c/a\u003e (2001) at the Whitney Museum of American Art, New York. His browser \u003cem\u003eRiot\u003c/em\u003e was included in the\u0026nbsp;\u003ca href=\"/exhibitions/biennial-2002\"\u003e2002 Whitney Biennial\u003c/a\u003e. He has also shown his work at ZKM Center for Art and Media Karlsruhe, Germany, and the Walker Art Center, Minneapolis, and received an honorable mention from Prix Ars Electronica (1999).\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Napier/code.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Napier/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24541","type":"region","attributes":{"id":24541,"position":7,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.520-04:00","updated_at":"2026-07-02T12:18:36.520-04:00","region_components":[{"data":{"id":"45077","type":"region_component","attributes":{"id":45077,"component_id":3742,"component_type":"HorizontalRuleComponent","position":1,"region_id":24541,"created_at":"2026-07-02T12:18:36.527-04:00","updated_at":"2026-07-02T12:18:36.527-04:00","component":{"data":{"id":"3742","type":"component","attributes":{"id":3742,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24542","type":"region","attributes":{"id":24542,"position":8,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.532-04:00","updated_at":"2026-07-02T12:18:36.532-04:00","region_components":[{"data":{"id":"45078","type":"region_component","attributes":{"id":45078,"component_id":15978,"component_type":"MediaComponent","position":1,"region_id":24542,"created_at":"2026-07-02T12:18:36.539-04:00","updated_at":"2026-07-02T12:18:36.539-04:00","component":{"data":{"id":"15978","type":"component","attributes":{"id":15978,"exhibition_id":2321,"media_id":65319,"url":"https://artport.whitney.org/commissions/codedoc/Paley/code.html"}}}}}}]}}},{"data":{"id":"23674","type":"region","attributes":{"id":23674,"position":9,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.841-05:00","updated_at":"2026-07-02T12:18:36.608-04:00","region_components":[{"data":{"id":"43494","type":"region_component","attributes":{"id":43494,"component_id":15647,"component_type":"TextComponent","position":1,"region_id":23674,"created_at":"2025-12-09T09:59:05.034-05:00","updated_at":"2026-04-01T11:51:50.415-04:00","component":{"data":{"id":"15647","type":"component","attributes":{"id":15647,"exhibition_id":2321,"text":"\u003ch2\u003eCode Profiles\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8451\"\u003e\u003cstrong\u003eW. Bradford Paley\u003c/strong\u003e\u003c/a\u003e (b. 1958; Detroit, Michigan) is an artist and interaction designer focusing on the visual interpretation of patterns hidden in information. His work has three primary goals: to create visual filters that let different subjects express their differences; to make the work readable enough that the viewer can gain specific insights; and to reveal complexity in a way that is matched to human perceptual abilities. He created TextArc.org, holds four US patents in computer/human interface work, and has given keynote addresses and plenary talks at major international information visualization symposia.\u003c/p\u003e\u003cp class=\"large\"\u003ePaley’s work has been exhibited at the Museum of Modern Art and in \u003ca href=\"/exhibitions/programmed\"\u003e\u003cem\u003eProgrammed: Rules, Codes, and Choreographies in Art 1965–2018\u003c/em\u003e\u003c/a\u003e at the Whitney Museum of American Art in New York, and he is a New York State Council on the Arts grantee and a New York Foundation for the Arts fellow.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Paley/code.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Paley/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e\u003cp\u003eThis project relies on Java applets, emulated through \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24543","type":"region","attributes":{"id":24543,"position":10,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.547-04:00","updated_at":"2026-07-02T12:18:36.547-04:00","region_components":[{"data":{"id":"45079","type":"region_component","attributes":{"id":45079,"component_id":3743,"component_type":"HorizontalRuleComponent","position":1,"region_id":24543,"created_at":"2026-07-02T12:18:36.554-04:00","updated_at":"2026-07-02T12:18:36.554-04:00","component":{"data":{"id":"3743","type":"component","attributes":{"id":3743,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24544","type":"region","attributes":{"id":24544,"position":11,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:18:36.558-04:00","updated_at":"2026-07-02T12:18:36.558-04:00","region_components":[{"data":{"id":"45080","type":"region_component","attributes":{"id":45080,"component_id":15979,"component_type":"MediaComponent","position":1,"region_id":24544,"created_at":"2026-07-02T12:18:36.565-04:00","updated_at":"2026-07-02T12:18:36.565-04:00","component":{"data":{"id":"15979","type":"component","attributes":{"id":15979,"exhibition_id":2321,"media_id":65321,"url":"https://artport.whitney.org/commissions/codedoc/Snibbe/Tripolar_java_wc.html"}}}}}}]}}},{"data":{"id":"23675","type":"region","attributes":{"id":23675,"position":12,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.861-05:00","updated_at":"2026-07-02T12:18:36.609-04:00","region_components":[{"data":{"id":"43496","type":"region_component","attributes":{"id":43496,"component_id":15648,"component_type":"TextComponent","position":1,"region_id":23675,"created_at":"2025-12-09T09:59:05.065-05:00","updated_at":"2026-04-01T11:51:50.434-04:00","component":{"data":{"id":"15648","type":"component","attributes":{"id":15648,"exhibition_id":2321,"text":"\u003ch2\u003eTripolar\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8448\"\u003e\u003cstrong\u003eScott Snibbe\u003c/strong\u003e\u003c/a\u003e (b. 1969; New York, New York) explores direct physical perception and the nature of the self using electronic media. His artworks range from large-scale installations to interactive sculpture and screen- and web-based pieces. He has collaborated with Björk, Philip Glass, Beck, and James Cameron to create innovative intersections of art, music, and technology. He was an early developer of Adobe After Effects and spent years at Paul Allen’s Interval Research Corporation researching interactive music, video, computer vision, and haptics.\u003c/p\u003e\u003cp class=\"large\"\u003eSnibbe has received the Webby (2012) and Ars Electronica (1996) awards, as well as grants from the National Science Foundation, the Ford Foundation, the National Endowment for the Arts, and the Rockefeller Foundation. He holds over thirty patents. Snibbe’s work has been shown internationally at venues including the InterCommunications Center, Tokyo; Ars Electronica, Linz, Austria; Eyebeam, New York; New Langton Arts (1975–2009), San Francisco; Institute of Contemporary Arts, London; and the Kitchen, New York.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Snibbe/Tripolar_java_wc.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Snibbe/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24548","type":"region","attributes":{"id":24548,"position":13,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.195-04:00","updated_at":"2026-07-02T12:25:38.195-04:00","region_components":[{"data":{"id":"45085","type":"region_component","attributes":{"id":45085,"component_id":3744,"component_type":"HorizontalRuleComponent","position":1,"region_id":24548,"created_at":"2026-07-02T12:25:38.203-04:00","updated_at":"2026-07-02T12:25:38.203-04:00","component":{"data":{"id":"3744","type":"component","attributes":{"id":3744,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24549","type":"region","attributes":{"id":24549,"position":14,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.208-04:00","updated_at":"2026-07-02T12:25:38.208-04:00","region_components":[{"data":{"id":"45086","type":"region_component","attributes":{"id":45086,"component_id":15982,"component_type":"MediaComponent","position":1,"region_id":24549,"created_at":"2026-07-02T12:25:38.215-04:00","updated_at":"2026-07-02T12:25:38.215-04:00","component":{"data":{"id":"15982","type":"component","attributes":{"id":15982,"exhibition_id":2321,"media_id":65322,"url":"https://artport.whitney.org/commissions/codedoc/Wattenberg/code.html"}}}}}}]}}},{"data":{"id":"23757","type":"region","attributes":{"id":23757,"position":15,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:36:32.083-05:00","updated_at":"2026-07-02T12:25:38.688-04:00","region_components":[{"data":{"id":"43500","type":"region_component","attributes":{"id":43500,"component_id":15650,"component_type":"TextComponent","position":1,"region_id":23757,"created_at":"2025-12-09T09:59:05.118-05:00","updated_at":"2026-04-01T11:51:50.449-04:00","component":{"data":{"id":"15650","type":"component","attributes":{"id":15650,"exhibition_id":2321,"text":"\u003ch2\u003eConnect\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8170\"\u003e\u003cstrong\u003eMartin Wattenberg\u003c/strong\u003e\u003c/a\u003e (b. 1970; Newton, Massachusetts) is a digital artist and computer scientist whose work focuses on creating tools for visual investigations that can foster connection, narrative, and insight. His projects range from artistic explorations such as \u003cem\u003eFleshmap\u003c/em\u003e (with Fernanda Viégas, 2008) and \u003cem\u003eApartment\u003c/em\u003e (with Marek Walczak, 2001), to tools for democratizing data visualization (\u003cem\u003eMany Eyes\u003c/em\u003e, with Viégas et al., 2007). He is a professor at Harvard University, where he coleads the Insight + Interaction Lab with longtime collaborator Fernanda Viégas; and a part-time member of Google DeepMind’s PAIR (People + AI Research) initiative, which he cofounded with Viégas.\u003c/p\u003e\u003cp class=\"large\"\u003eWattenberg’s work has been exhibited at venues such as the Institute of Contemporary Arts, London; Tate Modern, London; and the Museum of Modern Art, New York. Wattenberg holds a PhD in mathematics from the University of California, Berkeley.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Wattenberg/code.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Wattenberg/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24550","type":"region","attributes":{"id":24550,"position":16,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.224-04:00","updated_at":"2026-07-02T12:25:38.224-04:00","region_components":[{"data":{"id":"45087","type":"region_component","attributes":{"id":45087,"component_id":3745,"component_type":"HorizontalRuleComponent","position":1,"region_id":24550,"created_at":"2026-07-02T12:25:38.233-04:00","updated_at":"2026-07-02T12:25:38.233-04:00","component":{"data":{"id":"3745","type":"component","attributes":{"id":3745,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24551","type":"region","attributes":{"id":24551,"position":17,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.237-04:00","updated_at":"2026-07-02T12:25:38.237-04:00","region_components":[{"data":{"id":"45096","type":"region_component","attributes":{"id":45096,"component_id":15984,"component_type":"MediaComponent","position":1,"region_id":24551,"created_at":"2026-07-02T15:30:15.227-04:00","updated_at":"2026-07-02T15:30:15.227-04:00","component":{"data":{"id":"15984","type":"component","attributes":{"id":15984,"exhibition_id":2321,"media_id":65325,"url":"https://artport.whitney.org/commissions/codedoc/Wisniewski/Couplet.html"}}}}}}]}}},{"data":{"id":"23758","type":"region","attributes":{"id":23758,"position":18,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:36:32.117-05:00","updated_at":"2026-07-02T12:25:38.689-04:00","region_components":[{"data":{"id":"43502","type":"region_component","attributes":{"id":43502,"component_id":15651,"component_type":"TextComponent","position":1,"region_id":23758,"created_at":"2025-12-09T09:59:05.141-05:00","updated_at":"2026-04-01T11:51:50.464-04:00","component":{"data":{"id":"15651","type":"component","attributes":{"id":15651,"exhibition_id":2321,"text":"\u003ch2\u003eThe Meaning of Life as Expressed in Seven Lines of Code\u003cbr\u003e\u003cspan class=\"gray\"\u003eJava\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/9084\"\u003e\u003cstrong\u003eMaciej Wisniewski\u003c/strong\u003e\u003c/a\u003e (b. 1959; Warsaw, Poland) is an artist and programmer whose work focuses on the social implications of technology and the internet. His works \u003cem\u003enetomatTM\u003c/em\u003e (1999), \u003cem\u003emetaView\u003c/em\u003e (1998), \u003cem\u003eTurnstile Part I and II\u003c/em\u003e (1998), \u003cem\u003eScanLink\u003c/em\u003e (1998), \u003cem\u003eJackpot\u003c/em\u003e (1996), and \u003cem\u003eTele-Touch\u003c/em\u003e (1996) have been featured in both online and offline exhibitions at the Whitney Museum of American Art and Postmasters Gallery (1984–2025) in New York; ZKM Center for Art and Media Karlsruhe, Germany; Institute of Contemporary Arts, London; Walker Art Center, Minneapolis; Guggenheim Museum Soho, New York; the Johannesburg Biennale; and Benjamin Weil’s äda ’web.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Wisniewski/Couplet.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Wisniewski/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24552","type":"region","attributes":{"id":24552,"position":19,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.246-04:00","updated_at":"2026-07-02T12:25:38.246-04:00","region_components":[{"data":{"id":"45088","type":"region_component","attributes":{"id":45088,"component_id":3746,"component_type":"HorizontalRuleComponent","position":1,"region_id":24552,"created_at":"2026-07-02T12:25:38.264-04:00","updated_at":"2026-07-02T12:25:38.264-04:00","component":{"data":{"id":"3746","type":"component","attributes":{"id":3746,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24553","type":"region","attributes":{"id":24553,"position":20,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.272-04:00","updated_at":"2026-07-02T12:25:38.272-04:00","region_components":[{"data":{"id":"45097","type":"region_component","attributes":{"id":45097,"component_id":15985,"component_type":"MediaComponent","position":1,"region_id":24553,"created_at":"2026-07-02T15:30:15.251-04:00","updated_at":"2026-07-02T15:30:15.251-04:00","component":{"data":{"id":"15985","type":"component","attributes":{"id":15985,"exhibition_id":2321,"media_id":65326,"url":"https://artport.whitney.org/commissions/codedoc/Klima/main.html"}}}}}}]}}},{"data":{"id":"23676","type":"region","attributes":{"id":23676,"position":21,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.883-05:00","updated_at":"2026-07-02T12:25:38.690-04:00","region_components":[{"data":{"id":"43486","type":"region_component","attributes":{"id":43486,"component_id":15643,"component_type":"TextComponent","position":1,"region_id":23676,"created_at":"2026-01-20T19:36:32.186-05:00","updated_at":"2026-04-01T11:51:50.480-04:00","component":{"data":{"id":"15643","type":"component","attributes":{"id":15643,"exhibition_id":2321,"text":"\u003ch2\u003eJack and Jill\u003cbr\u003e\u003cspan class=\"gray\"\u003eVisual Basic\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8240\"\u003e\u003cstrong\u003eJohn Klima\u003c/strong\u003e\u003c/a\u003e (b. 1965; Redondo Beach, California) builds large scale electro-mechanical installations driven by 3D game software he programs from scratch. He has exhibited his work extensively in the United States, Europe, and Asia. His project \u003cem\u003eecosystm\u003c/em\u003e, commissioned by Zurich Capital Markets, was shown at the Whitney as part of the exhibition \u003ca href=\"/exhibitions/bitstreams\"\u003e\u003cem\u003eBitStreams\u003c/em\u003e\u003c/a\u003e (2001) and his work \u003cem\u003eEARTH\u003c/em\u003e (2001) was included in the\u0026nbsp;\u003ca href=\"/exhibitions/biennial-2002\"\u003e\u003cem\u003e2002 Whitney Biennial\u003c/em\u003e\u003c/a\u003e. In New York, he has also exhibited at Eyebeam, the New Museum, MoMA PS1, and the Brooklyn Museum. Klima has also participated in exhibitions at the Museum of Communication, Bern, Switzerland; the NTT InterCommunication Center, Tokyo; the Daejeon Municipal Museum, South Korea; and festivals including VIPER Switzerland; and the European Media Art Festival. More recently, Klima has focused on sound and music. In 2014 he founded Scratchbuilt Studios in Lisbon, where he has recorded countless musical and experimental sound projects, focusing on vintage analog recording equipment.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Klima/main.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Klima/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24554","type":"region","attributes":{"id":24554,"position":22,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.284-04:00","updated_at":"2026-07-02T12:25:38.284-04:00","region_components":[{"data":{"id":"45089","type":"region_component","attributes":{"id":45089,"component_id":3747,"component_type":"HorizontalRuleComponent","position":1,"region_id":24554,"created_at":"2026-07-02T12:25:38.299-04:00","updated_at":"2026-07-02T12:25:38.299-04:00","component":{"data":{"id":"3747","type":"component","attributes":{"id":3747,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24555","type":"region","attributes":{"id":24555,"position":23,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.313-04:00","updated_at":"2026-07-02T12:25:38.313-04:00","region_components":[{"data":{"id":"45098","type":"region_component","attributes":{"id":45098,"component_id":15986,"component_type":"MediaComponent","position":1,"region_id":24555,"created_at":"2026-07-02T15:36:58.648-04:00","updated_at":"2026-07-02T15:36:58.648-04:00","component":{"data":{"id":"15986","type":"component","attributes":{"id":15986,"exhibition_id":2321,"media_id":65327,"url":"https://artport.whitney.org/commissions/codedoc/Utterback/linescape.html"}}}}}}]}}},{"data":{"id":"23759","type":"region","attributes":{"id":23759,"position":24,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:38:23.620-05:00","updated_at":"2026-07-02T12:25:38.690-04:00","region_components":[{"data":{"id":"43498","type":"region_component","attributes":{"id":43498,"component_id":15649,"component_type":"TextComponent","position":1,"region_id":23759,"created_at":"2025-12-09T09:59:05.090-05:00","updated_at":"2026-04-01T11:51:50.495-04:00","component":{"data":{"id":"15649","type":"component","attributes":{"id":15649,"exhibition_id":2321,"text":"\u003ch2\u003eLinescape\u003cbr\u003e\u003cspan class=\"gray\"\u003eC++\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8449\"\u003e\u003cstrong\u003eCamille Utterback\u003c/strong\u003e\u003c/a\u003e (b. 1970; Bloomington, Indiana) explores the possibilities of linking computational systems to human movement and physicality. Her honors include a MacArthur Foundation Fellowship (2009), a Transmediale International Media Art Festival Award (2005), and a Rockefeller Foundation New Media Fellowship (2002). Utterback holds a US patent for a video-tracking system she developed while working as a research fellow at New York University (2004) and is a professor at Stanford University in California.\u003c/p\u003e\u003cp class=\"large\"\u003eUtterback’s work has been exhibited at the National Portrait Gallery and the Smithsonian American Art Museum, Washington, DC; the Frist Art Museum, Nashville; the Orange County Museum of Art, California; ZERO1: The Art \u0026amp; Technology Network, San Jose, California; Haines Gallery, San Francisco; the New Museum, New York; the Museum of the Moving Image, Queens; NTT InterCommunication Center, Tokyo; Seoul Museum of Art; Netherlands Media Art Institute, Amsterdam; and Ars Electronica Center, Linz, Austria, among others.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Utterback/linescape.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Utterback/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24556","type":"region","attributes":{"id":24556,"position":25,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.349-04:00","updated_at":"2026-07-02T12:25:38.349-04:00","region_components":[{"data":{"id":"45090","type":"region_component","attributes":{"id":45090,"component_id":3748,"component_type":"HorizontalRuleComponent","position":1,"region_id":24556,"created_at":"2026-07-02T12:25:38.492-04:00","updated_at":"2026-07-02T12:25:38.492-04:00","component":{"data":{"id":"3748","type":"component","attributes":{"id":3748,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24557","type":"region","attributes":{"id":24557,"position":26,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.515-04:00","updated_at":"2026-07-02T12:25:38.515-04:00","region_components":[{"data":{"id":"45099","type":"region_component","attributes":{"id":45099,"component_id":15987,"component_type":"MediaComponent","position":1,"region_id":24557,"created_at":"2026-07-02T15:36:58.666-04:00","updated_at":"2026-07-02T15:36:58.666-04:00","component":{"data":{"id":"15987","type":"component","attributes":{"id":15987,"exhibition_id":2321,"media_id":65328,"url":"https://artport.whitney.org/commissions/codedoc/Flanagan/remotion.html"}}}}}}]}}},{"data":{"id":"23677","type":"region","attributes":{"id":23677,"position":27,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.903-05:00","updated_at":"2026-07-02T12:25:38.691-04:00","region_components":[{"data":{"id":"43482","type":"region_component","attributes":{"id":43482,"component_id":15641,"component_type":"TextComponent","position":1,"region_id":23677,"created_at":"2026-01-20T19:38:23.684-05:00","updated_at":"2026-04-01T11:51:50.510-04:00","component":{"data":{"id":"15641","type":"component","attributes":{"id":15641,"exhibition_id":2321,"text":"\u003ch2\u003e[remotion]\u003cbr\u003e\u003cspan class=\"gray\"\u003eLingo\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8169\"\u003e\u003cstrong\u003eMary Flanagan\u003c/strong\u003e\u003c/a\u003e (b. 1969; Milwaukee, Wisconsin) is a media practitioner and theorist whose transdisciplinary practice is informed by her methodology of “critical play.” She is the creator of \u003cem\u003eThe Adventures of Josie True\u003c/em\u003e (1997), the first web-based adventure game for girls.\u003c/p\u003e\u003cp class=\"large\"\u003eFlanagan has exhibited at venues including the Guggenheim Museum, New York; Tate Britain; Museu de Arte, Arquitetura e Tecnologia, Lisbon; Centre de Cultura Contemporània de Barcelona; Hyundai Motorstudio Beijing; the Baltimore Museum of Art; NeMe Arts Centre, Cyprus; LABoral Centro de Arte y Creación Industrial, Gijón, Spain; Museum of Applied Arts, Cologne, Germany; and the 2002 Whitney Biennial. Flanagan won an Award of Distinction at Prix Ars Electronica (2018) and is the recipient of the American Council of Learned Societies Digital Innovation Fellowship. She has also been awarded residencies with the Brown Foundation, MacDowell, Bogliasco, and the Robert Rauschenberg Foundation. She is the Fairchild Distinguished Professor of Digital Humanities at Dartmouth College in Hanover, New Hampshire.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Flanagan/remotion.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Flanagan/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24558","type":"region","attributes":{"id":24558,"position":28,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.542-04:00","updated_at":"2026-07-02T12:25:38.542-04:00","region_components":[{"data":{"id":"45091","type":"region_component","attributes":{"id":45091,"component_id":3749,"component_type":"HorizontalRuleComponent","position":1,"region_id":24558,"created_at":"2026-07-02T12:25:38.558-04:00","updated_at":"2026-07-02T12:25:38.558-04:00","component":{"data":{"id":"3749","type":"component","attributes":{"id":3749,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24559","type":"region","attributes":{"id":24559,"position":29,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.566-04:00","updated_at":"2026-07-02T12:25:38.566-04:00","region_components":[{"data":{"id":"45100","type":"region_component","attributes":{"id":45100,"component_id":15988,"component_type":"MediaComponent","position":1,"region_id":24559,"created_at":"2026-07-02T15:40:21.504-04:00","updated_at":"2026-07-02T15:40:21.504-04:00","component":{"data":{"id":"15988","type":"component","attributes":{"id":15988,"exhibition_id":2321,"media_id":65329,"url":"https://artport.whitney.org/commissions/codedoc/McCoy/code_woc.html"}}}}}}]}}},{"data":{"id":"23760","type":"region","attributes":{"id":23760,"position":30,"columns":8,"block_editor_id":5944,"created_at":"2026-01-20T19:38:23.760-05:00","updated_at":"2026-07-02T12:25:38.692-04:00","region_components":[{"data":{"id":"43490","type":"region_component","attributes":{"id":43490,"component_id":15645,"component_type":"TextComponent","position":1,"region_id":23760,"created_at":"2025-12-09T09:59:04.940-05:00","updated_at":"2026-04-01T11:51:50.524-04:00","component":{"data":{"id":"15645","type":"component","attributes":{"id":15645,"exhibition_id":2321,"text":"\u003ch2\u003eCircler\u003cbr\u003e\u003cspan class=\"gray\"\u003eLingo\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8245\"\u003e\u003cstrong\u003eKevin McCoy\u003c/strong\u003e\u003c/a\u003e’s (b. 1967; Seattle, Washington) collaborative multimedia artworks, made with his partner \u003ca href=\"/artists/8244\"\u003eJennifer McCoy\u003c/a\u003e (b. 1968; Sacramento, California), examine the genres and conventions of filmmaking, memory, and language. The McCoys are well-known for constructing subjective databases of narrative material and making fragmentary miniature film sets with lights, video cameras, and moving sculptural elements to create live cinematic events. Their work has been widely exhibited in the United States and internationally, including at the Centre Pompidou, Paris; the Museum of Modern Art (MoMA), New York; the British Film Institute, London; Kunstverein Hannover, Germany; the Beall Center for Art and Technology, University of California, Irvine; PKM Gallery, Beijing; the San Jose Museum of Art, California; Palazzo delle Papesse, Siena, Italy; the Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts; the Sundance Film Festival; and Artists Space, New York. Their work is in the collections of the Whitney Museum; MoMA; the Metropolitan Museum of Art, New York; the Milwaukee Art Museum; the 21C Museum Hotels; and the Speed Art Museum, Louisville. They have received a Creative Capital Award (2002), the WIRED Rave Award for Art (2005), a Guggenheim Fellowship (2011), and a Headlands Alumni Award (2014).\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/McCoy/code_woc.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/McCoy/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24560","type":"region","attributes":{"id":24560,"position":31,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.593-04:00","updated_at":"2026-07-02T12:25:38.593-04:00","region_components":[{"data":{"id":"45092","type":"region_component","attributes":{"id":45092,"component_id":3750,"component_type":"HorizontalRuleComponent","position":1,"region_id":24560,"created_at":"2026-07-02T12:25:38.645-04:00","updated_at":"2026-07-02T12:25:38.645-04:00","component":{"data":{"id":"3750","type":"component","attributes":{"id":3750,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24561","type":"region","attributes":{"id":24561,"position":32,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.651-04:00","updated_at":"2026-07-02T12:25:38.651-04:00","region_components":[{"data":{"id":"45101","type":"region_component","attributes":{"id":45101,"component_id":15989,"component_type":"MediaComponent","position":1,"region_id":24561,"created_at":"2026-07-02T15:40:21.520-04:00","updated_at":"2026-07-02T15:40:21.520-04:00","component":{"data":{"id":"15989","type":"component","attributes":{"id":15989,"exhibition_id":2321,"media_id":65330,"url":"https://artport.whitney.org/commissions/codedoc/Brooks/globalcity.html"}}}}}}]}}},{"data":{"id":"23678","type":"region","attributes":{"id":23678,"position":33,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:04.930-05:00","updated_at":"2026-07-02T12:25:38.693-04:00","region_components":[{"data":{"id":"43480","type":"region_component","attributes":{"id":43480,"component_id":15640,"component_type":"TextComponent","position":1,"region_id":23678,"created_at":"2026-01-20T19:38:23.825-05:00","updated_at":"2026-04-01T11:51:50.541-04:00","component":{"data":{"id":"15640","type":"component","attributes":{"id":15640,"exhibition_id":2321,"text":"\u003ch2\u003eGlobal City\u003cbr\u003e\u003cspan class=\"gray\"\u003ePerl\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/21637\"\u003e\u003cstrong\u003eSawad Brooks\u003c/strong\u003e\u003c/a\u003e (b. 1964; Bogota, Columbia) is an artist, critic, and designer working with public and information spaces. \u003cem\u003eDissemiNET\u003c/em\u003e (1998–2001), a collaboration with Beth Stryker, is a telematic installation commissioned in part by the Wexner Center for the Arts, Ohio State University, Columbus, that has been shown internationally. The work is part of the Digital Arts Studies Collection at the Walker Art Center, Minneapolis; as is Brooks’s \u003cem\u003eBowling Alley\u003c/em\u003e (1995), a collaboration with Stryker, Christa Erickson, and Shu Lea Cheang. \u003cem\u003eInvertigo\u003c/em\u003e (1997), created with Stryker and Erickson, was shown at the Banff Centre for Arts and Creativity, Canada.\u003c/p\u003e\u003cp class=\"large\"\u003eSawad’s work has also been shown at such places as the MIT List Visual Arts Center, Cambridge; the Johannesburg Biennale (1997); and Postmasters Gallery (1984–2025), New York.\u003c/p\u003e\u003cp class=\"large\"\u003eHis work has been funded by the Arts Technology Center, University of New Mexico, Albuquerque; and with grants from the Rockefeller Foundation, the National Endowment for the Arts, and Creative Capital.\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Brooks/globalcity.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Brooks/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"24562","type":"region","attributes":{"id":24562,"position":34,"columns":12,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.664-04:00","updated_at":"2026-07-02T12:25:38.664-04:00","region_components":[{"data":{"id":"45093","type":"region_component","attributes":{"id":45093,"component_id":3751,"component_type":"HorizontalRuleComponent","position":1,"region_id":24562,"created_at":"2026-07-02T12:25:38.672-04:00","updated_at":"2026-07-02T12:25:38.672-04:00","component":{"data":{"id":"3751","type":"component","attributes":{"id":3751,"exhibition_id":2321}}}}}}]}}},{"data":{"id":"24563","type":"region","attributes":{"id":24563,"position":35,"columns":4,"block_editor_id":5944,"created_at":"2026-07-02T12:25:38.676-04:00","updated_at":"2026-07-02T12:25:38.676-04:00","region_components":[{"data":{"id":"45102","type":"region_component","attributes":{"id":45102,"component_id":15990,"component_type":"MediaComponent","position":1,"region_id":24563,"created_at":"2026-07-02T15:40:21.537-04:00","updated_at":"2026-07-02T15:40:21.537-04:00","component":{"data":{"id":"15990","type":"component","attributes":{"id":15990,"exhibition_id":2321,"media_id":65331,"url":"https://artport.whitney.org/commissions/codedoc/Galloway/WYSIWYG.html"}}}}}}]}}},{"data":{"id":"23682","type":"region","attributes":{"id":23682,"position":36,"columns":8,"block_editor_id":5944,"created_at":"2025-12-09T09:59:05.079-05:00","updated_at":"2026-07-02T12:25:38.694-04:00","region_components":[{"data":{"id":"43484","type":"region_component","attributes":{"id":43484,"component_id":15642,"component_type":"TextComponent","position":1,"region_id":23682,"created_at":"2026-01-20T19:38:39.752-05:00","updated_at":"2026-04-01T11:51:50.564-04:00","component":{"data":{"id":"15642","type":"component","attributes":{"id":15642,"exhibition_id":2321,"text":"\u003ch2\u003eWYSIWYG\u003cbr\u003e\u003cspan class=\"gray\"\u003ePerl/Text\u003c/span\u003e\u003c/h2\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8447\"\u003e\u003cstrong\u003eAlexander R. Galloway\u003c/strong\u003e\u003c/a\u003e (b. 1974; Walnut Creek, California), a writer and computer programmer, explores issues in philosophy, technology, and theories of mediation. As the founding member of the Radical Software Group (RSG, 2001), he is the creator of \u003ca href=\"https://r-s-g.org/carnivore/\" target=\"_blank\" rel=\"noreferrer noopener\"\u003e\u003cem\u003eCarnivore\u003c/em\u003e\u003c/a\u003e (launched 2001), a networked surveillance tool based on the notorious FBI software of the same name. \u003cem\u003eCarnivore\u003c/em\u003e has been exhibited internationally and won a Prix Ars Electronica 2002 Golden Nica. Galloway is a recipient of a Guggenheim Fellowship (2019) and the Berlin Prize (2018). He is a professor of media, culture, and communication at New York University and the author of several books on digital media and critical theory, including \u003cem\u003eUncomputable\u003c/em\u003e (2021), \u003cem\u003eExcommunication: Three Inquiries in Media and Mediation\u003c/em\u003e (with Eugene Thacker and McKenzie Wark, 2013), \u003cem\u003eThe Interface Effect\u003c/em\u003e (2012), and\u0026nbsp;\u003cem\u003ePROTOCOL: How Control Exists after Decentralization\u003c/em\u003e (2003).\u003c/p\u003e\u003cp\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Galloway/WYSIWYG.html\"\u003eEnter project\u003c/a\u003e\u003ca class=\"btn\" href=\"https://artport.whitney.org/commissions/codedoc/Galloway/comments.shtml\"\u003eComments by other artists\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2447","type":"exhibition","attributes":{"id":2447,"title":"Roy Lichtenstein: 1997","start_time":"2026-09-05T00:00:00.000-04:00","end_time":"2027-06-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/lichtenstein-1997","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003e\u003cstrong\u003eRoy Lichtenstein: 1997\u003c/strong\u003e\u003c/em\u003e\u003cstrong\u003e\u0026nbsp;is presented on the Museum’s 3rd floor. This exhibition runs in conjunction with the major exhibition\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/exhibitions/lichtenstein\"\u003e\u003cstrong\u003e\u003cem\u003eRoy Lichtenstein: Like New\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e, opening October 11 on the Museum\u003cstrong\u003e’\u003c/strong\u003es 5th floor.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eIn 1997, at the age of seventy-three, \u003ca href=\"/artists/779\"\u003eRoy Lichtenstein\u003c/a\u003e (1923–1997) was as innovative and productive as ever. In addition to his studio painting practice, he was working on a variety of adventurous projects, among them two mural commissions, several large-scale sculptures, and a new series of prints. Decades after his paintings inspired by comics and other images of American consumer culture helped usher in the Pop art era, Lichtenstein began to expand his palette of mostly primary colors, adding vibrant highlights of mint green and turquoise, coral and cyan. He also started to make work without his signature bold black outlines, resulting in images that respond to the aesthetics of the early digital age. At the same time, he continued to reuse images, such as pyramids and brushstrokes, from his own work and to quote an array of visual references, including iconic works by Leonardo da Vinci and Henri Matisse, as he had done throughout his career.\u003c/p\u003e\u003cp class=\"large\"\u003eLichtenstein fell ill in August 1997 and died unexpectedly the following month due to complications from pneumonia, leaving a number of works unfinished. Some were fabricated or completed posthumously, while others exist only as sketches. By bringing together materials related to these projects, many from the Whitney's collection, \u003cem\u003eRoy Lichtenstein: 1997\u0026nbsp;\u003c/em\u003eoffers insight into the range of the artist's late experimentation and illustrates his ongoing interest in new technologies and their effects on image making.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e is organized by David Crane, Curatorial Research Associate, and Nakai Falcón, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eGenerous support for \u003cem\u003eRoy Lichtenstein: 1997\u003c/em\u003e is provided by David Bolger.\u0026nbsp;\u003c/p\u003e","primary_media_id":65304,"override_media_id":null,"sign_media_id":65304,"feature_id":115,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.00784313725490196,"created_at":"2026-09-09T10:11:47.449-04:00","updated_at":"2026-11-05T13:19:06.576-05:00","block_editor":{"data":{"id":"6132","type":"block_editor","attributes":{"id":6132,"exhibition_id":2447,"page_id":null,"created_at":"2026-09-09T10:11:47.609-04:00","updated_at":"2026-09-09T10:11:47.609-04:00","regions":[]}}}}},{"id":"282","type":"exhibition","attributes":{"id":282,"title":"Martin Wattenberg: IDEA LINE","start_time":"2001-09-01T00:00:00.000-04:00","end_time":"2001-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2001","url":"/exhibitions/idea-line","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eIDEA LINE\u003c/em\u003e displays a timeline of net artworks, arranged in a fan of luminous threads. Each thread corresponds to a particular kind of work or a type of technology used in creating it. The brightness of each thread varies with the number of works in each year, so viewers can observe the ebb and flow of different lines of thought over time. As a user moves the mouse over the lines, they open to reveal titles of artworks.\u003c/p\u003e\u003cp class=\"large\"\u003eAccording to \u003ca href=\"/artists/8170\"\u003eMartin Wattenberg\u003c/a\u003e, “From the beginning, net art has traveled multiple paths. More than a medium, the net is an environment uniquely hospitable to many diverse media: programming and animation, video and audio, gameplay and community. Each individual artist picks up these threads and weaves them in novel combinations.\u0026nbsp;\u003cem\u003eIDEA LINE\u003c/em\u003e is designed to let you follow these threads of thought yourself, and discover how each work is part of a larger tapestry.”\u003cbr\u003e\u0026nbsp;\u003cbr\u003eTo create the list of artworks, Wattenberg sent out an open call for help to several net art forums. Almost one hundred artists submitted information. In addition, data was entered on many popular or influential artworks that were not suggested by public response.\u003c/p\u003e\u003cp\u003eThis project relies on Java applets, emulated through \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e","primary_media_id":2573,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.19607843137254902,"created_at":"2018-07-20T10:54:47.000-04:00","updated_at":"2026-11-05T12:51:05.748-05:00","block_editor":{"data":{"id":"2443","type":"block_editor","attributes":{"id":2443,"exhibition_id":282,"page_id":null,"created_at":"2025-06-16T12:34:36.886-04:00","updated_at":"2025-06-16T12:34:36.886-04:00","regions":[{"data":{"id":"22181","type":"region","attributes":{"id":22181,"position":1,"columns":12,"block_editor_id":2443,"created_at":"2025-02-19T09:52:01.691-05:00","updated_at":"2025-07-22T12:25:59.957-04:00","region_components":[{"data":{"id":"40453","type":"region_component","attributes":{"id":40453,"component_id":14720,"component_type":"TextComponent","position":1,"region_id":22181,"created_at":"2025-02-19T09:52:01.698-05:00","updated_at":"2025-07-22T12:25:59.968-04:00","component":{"data":{"id":"14720","type":"component","attributes":{"id":14720,"exhibition_id":282,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMartin Wattenberg\u003c/strong\u003e (b. 1970; Newton, Massachusetts) is a digital artist and computer scientist whose work focuses on creating tools for visual investigations that can foster connection, narrative, and insight. His projects range from artistic explorations such as \u003cem\u003eFleshmap\u003c/em\u003e (with Fernanda Viégas, 2008) and \u003cem\u003eApartment\u003c/em\u003e (with Marek Walczak, 2001), to tools for democratizing data visualization (\u003cem\u003eMany Eyes\u003c/em\u003e, with Viégas et al., 2007). He is a professor at Harvard University, where he coleads the Insight + Interaction Lab with longtime collaborator Fernanda Viégas; and a part-time member of Google DeepMind’s PAIR (People + AI Research) initiative, which he cofounded with Viégas.\u003c/p\u003e\u003cp class=\"large\"\u003eWattenberg’s work has been exhibited at venues such as the Institute of Contemporary Arts, London; Tate Modern, London; and the Museum of Modern Art, New York. Wattenberg holds a PhD in mathematics from the University of California, Berkeley.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2318","type":"exhibition","attributes":{"id":2318,"title":"Frank WANG Yefeng: The Levitating Perils #2","start_time":"2025-10-29T00:00:00.000-04:00","end_time":"2027-10-28T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Oct 29, 2025–","url":"/exhibitions/frank-wang-yefeng","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/21775\"\u003eFrank WANG Yefeng\u003c/a\u003e’s \u003cem\u003eThe Levitating Perils #2\u003c/em\u003e is a series of five animations that continues the artist’s explorations of identity and cultural displacement. The work features an uncanny, yet playful floating red dragon based on historical illustrations of the “Yellow Peril,” a label given to anti-Asian bias that dates back to the birth of European colonialism. The illustrations appeared in newspapers and political cartoons and featured monstrous depictions of Asian figures invading the West. The dragon specifically references the illustration \u003cem\u003eThe Ogre of the Orient\u003c/em\u003e (1904–05), shown in the background of one of the animations, and is surrounded by handwritten text snippets of the creature’s imagined utterances and deconstructed phrases sourced from “Yellow Peril” materials. A sequence of four animations switches every six hours over the course of the day, with an additional clip interspersed randomly. At certain hours a human head with tentacled horns, mapped with the artist’s facial features, appears as kin to the dragon and is tossed around by invisible forces, an allegory of the turbulent existence of a transnational self. Yefeng immerses viewers in imaginations that dissolve boundaries between myth and history, inviting them into a speculative space.\u003c/p\u003e","primary_media_id":63845,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.043137254901960784,"created_at":"2025-10-08T12:10:37.069-04:00","updated_at":"2026-11-02T23:31:13.802-05:00","block_editor":{"data":{"id":"5922","type":"block_editor","attributes":{"id":5922,"exhibition_id":2318,"page_id":null,"created_at":"2025-10-08T12:10:37.062-04:00","updated_at":"2025-10-08T12:10:37.062-04:00","regions":[{"data":{"id":"23604","type":"region","attributes":{"id":23604,"position":1,"columns":12,"block_editor_id":5922,"created_at":"2025-10-27T11:27:17.607-04:00","updated_at":"2026-02-17T17:31:41.450-05:00","region_components":[{"data":{"id":"43306","type":"region_component","attributes":{"id":43306,"component_id":15594,"component_type":"TextComponent","position":1,"region_id":23604,"created_at":"2025-10-27T11:27:17.647-04:00","updated_at":"2026-02-17T17:31:41.463-05:00","component":{"data":{"id":"15594","type":"component","attributes":{"id":15594,"exhibition_id":2318,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eFrank WANG Yefeng\u003c/strong\u003e (b. 1984, Shanghai, China) is a transdisciplinary artist living between New York City and Shanghai. Initially trained as a sculptor, Yefeng’s practice spans a wide range of media, including video, experimental 3D animation, painting, drawing, and writing. His art explores the experience of \"in-betweenness\" that arises from a nomadic transnational existence. His projects have been featured in exhibitions internationally, including High Line Originals, New York; Shanghai Museum of Glass, Shanghai, China; the BRIC Biennial, New York, and OCAT Biennial, Shenzhen, China; CCS Bard Hessel Museum of Art, Annandale-on Hudson, NY; Smack Mellon and International Studio \u0026amp; Curatorial Program (ISCP), New York City; Gasworks London, UK; Jeju Museum of Contemporary Art, Korea; and Hyundai Motorstudio, Beijing, China, among others. Yefeng has also been awarded residencies, fellowships, and commissions at K11 Art Foundation x ArtReview (Wuhan, China, and New York); Pratt Institute, Asia Art Archive in America, MacDowell, and Vermont Studio Center.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1406","type":"exhibition","attributes":{"id":1406,"title":"Maya Man: A Realistic Day In My Life Living In New York City","start_time":"2024-10-29T00:00:00.000-04:00","end_time":"2025-10-28T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/maya-man","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/21576\"\u003eMaya Man\u003c/a\u003e’s On the Hour project builds on one of the most popular formats for short-form content on the internet, the “day in my life” video, to explore online self-representation. The artist excerpted text mentioning specific hours of the day—for example 8 am or 11 pm—from thousands of publicly posted TikTok videos, stripping them of visual elements to highlight the genre’s method of storytelling. At the top of every hour, a quote from a “day in my life in New York City” video referencing that specific hour appears in a large font on whitney.org, followed by a stream of animated responses from the source video’s comment section. Producers of such content commonly use the descriptor “realistic” in their video title, striving to communicate authenticity and relatability on social media platforms cluttered with overt product placement. Man’s piece highlights the blurred line between living and performance in a format that offers a template for turning every moment into cinema and every person into a star. The “day in my life” genre dramatizes the creator’s day while capitalizing on TikTok scrollers’ voyeuristic desires. \u003cem\u003eA Realistic Day in My Life Living In New York City\u003c/em\u003e invites viewers to consider both the sincerity and absurdity of this contemporary form of content production.\u003c/p\u003e","primary_media_id":60779,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.9215686274509803,"created_at":"2024-10-03T13:16:04.223-04:00","updated_at":"2026-11-02T23:29:46.384-05:00","block_editor":{"data":{"id":"4207","type":"block_editor","attributes":{"id":4207,"exhibition_id":1406,"page_id":null,"created_at":"2025-06-16T12:38:28.887-04:00","updated_at":"2025-06-16T12:38:28.887-04:00","regions":[{"data":{"id":"22270","type":"region","attributes":{"id":22270,"position":1,"columns":12,"block_editor_id":4207,"created_at":"2025-02-19T09:52:08.134-05:00","updated_at":"2025-10-28T16:27:09.104-04:00","region_components":[{"data":{"id":"40587","type":"region_component","attributes":{"id":40587,"component_id":14793,"component_type":"TextComponent","position":1,"region_id":22270,"created_at":"2025-02-19T09:52:08.141-05:00","updated_at":"2025-10-28T16:27:09.113-04:00","component":{"data":{"id":"14793","type":"component","attributes":{"id":14793,"exhibition_id":1406,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMaya Man\u003c/strong\u003e (b. 1996; Philadelphia, Pennsylvania) focuses on contemporary identity culture on the internet. Her websites, generative series, and installations examine dominant narratives around femininity, authenticity, and the online performance of the self. She is the creator of the browser extension \u003ca href=\"https://glanceback.info/\"\u003e\u003cem\u003eGlance Back\u003c/em\u003e\u003c/a\u003e and the Art Blocks curated collection \u003cem\u003eFAKE IT TILL YOU MAKE IT\u003c/em\u003e (2022).\u003c/p\u003e\u003cp class=\"large\"\u003eShe has exhibited internationally at Bitforms Gallery, New York; SOOT Gallery, Tokyo; Verse, London; HeK (House of Electronic Arts), Basel, Switzerland; and the online platform Feral File. She has been asked to speak about her art at the New Museum, New York; the Victoria and Albert Museum, London; and the Museum of Contemporary Art, Los Angeles. Her work has been featured in \u003cem\u003eArt in America\u003c/em\u003e, \u003cem\u003eDocument\u003c/em\u003e, \u003cem\u003eVogue\u003c/em\u003e, and \u003cem\u003eDazed\u003c/em\u003e, among other publications.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1398","type":"exhibition","attributes":{"id":1398,"title":"Peter Burr: Sunshine Monument","start_time":"2023-07-25T00:00:00.000-04:00","end_time":"2024-09-19T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/peter-burr","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/20783\"\u003ePeter Burr\u003c/a\u003e’s \u003cem\u003eSunshine Monument\u003c/em\u003e initially launched as part of the \u003ca href=\"/artport/sunrise-sunset\"\u003eSunrise/Sunset\u003c/a\u003e series. The work later ran hourly, marking the transition to the new \u003ca href=\"/artport/on-the-hour\"\u003eOn the Hour\u003c/a\u003e series.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eSunshine Monument\u003c/em\u003e consists of seven animated architectures—one for each weekday—that reflect on museum structures literally and symbolically. Each animation of Burr’s signature black-and-white graphic elements translates the blocks of text and images on the Whitney’s website into an abstract building populated by wandering figures, while still maintaining the layout’s adaptability to the vertical and horizontal orientation of computer screens and mobile devices. The animations channel the late Web 2.0 landscape of social media and user-generated content, an increasingly indexed, optimized, and gamified environment.\u003c/p\u003e\u003cp class=\"large\"\u003eBurr frames the project as a monument to the sun, making a round icon the centerpiece for an architectural organism commemorating the sun and driven by its rise and disappearance. Interspersed text elements, generated by the artist using AI, poetically reflect on sunlight and museum structures. Using the moment of sunrise and sunset, as well as graphic space as a metaphor, \u003cem\u003eSunshine Monument\u003c/em\u003e depicts a flow of figures continuously moving through the structure or falling off its edges. The animations highlight the contrast between the ephemeral flow of short-term visitors to a museum site and the long-term engagement of its stakeholders, from artists to staff and patrons.\u003c/p\u003e","primary_media_id":55913,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.7098039215686275,"created_at":"2024-08-01T14:30:45.294-04:00","updated_at":"2026-11-02T23:26:58.400-05:00","block_editor":{"data":{"id":"4195","type":"block_editor","attributes":{"id":4195,"exhibition_id":1398,"page_id":null,"created_at":"2025-06-16T12:38:27.447-04:00","updated_at":"2025-06-16T12:38:27.447-04:00","regions":[{"data":{"id":"22262","type":"region","attributes":{"id":22262,"position":1,"columns":12,"block_editor_id":4195,"created_at":"2025-02-19T09:52:07.813-05:00","updated_at":"2025-07-11T12:04:11.937-04:00","region_components":[{"data":{"id":"40573","type":"region_component","attributes":{"id":40573,"component_id":14787,"component_type":"TextComponent","position":1,"region_id":22262,"created_at":"2025-02-19T09:52:07.820-05:00","updated_at":"2025-07-11T12:04:11.946-04:00","component":{"data":{"id":"14787","type":"component","attributes":{"id":14787,"exhibition_id":1398,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003ePeter Burr\u003c/strong\u003e (b. 1980; Brooklyn, New York) is a Brooklyn-based artist whose practice often engages with tools of the video game industry in the form of immersive cinematic artworks. His works have been presented internationally at Documenta 14, Athens (2017); MoMA PS1, New York; and the Barbican Centre, London, among others. Burr previously worked under the alias Hooliganship and founded the video label Cartune Xprez, through which he produced hundreds of live multimedia exhibitions and touring programs showcasing a multigenerational group of artists at the forefront of experimental animation. His work has been recognized through grants and awards including a Guggenheim Fellowship, a Creative Capital grant, and a Sundance New Frontier Fellowship.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1396","type":"exhibition","attributes":{"id":1396,"title":"Peter Burr: Sunshine Monument","start_time":"2024-09-20T00:00:00.000-04:00","end_time":"2024-10-28T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/peter-burr-on-the-hour","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/20783\"\u003ePeter Burr\u003c/a\u003e’s \u003cem\u003eSunshine Monument\u003c/em\u003e initially launched as part of the \u003ca href=\"/artport/sunrise-sunset\"\u003eSunrise/Sunset\u003c/a\u003e series. The work later ran hourly, marking the transition to the new \u003ca href=\"/artport/on-the-hour\"\u003eOn the Hour\u003c/a\u003e series.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eSunshine Monument\u003c/em\u003e consists of seven animated architectures—one for each weekday—that reflect on museum structures literally and symbolically. Each animation of Burr’s signature black-and-white graphic elements translates the blocks of text and images on the Whitney’s website into an abstract building populated by wandering figures, while still maintaining the layout’s adaptability to the vertical and horizontal orientation of computer screens and mobile devices. The animations channel the late Web 2.0 landscape of social media and user-generated content, an increasingly indexed, optimized, and gamified environment.\u003c/p\u003e\u003cp class=\"large\"\u003eBurr frames the project as a monument to the sun, making a round icon the centerpiece for an architectural organism commemorating the sun and driven by its rise and disappearance. Interspersed text elements, generated by the artist using AI, poetically reflect on sunlight and museum structures. Using the moment of sunrise and sunset, as well as graphic space as a metaphor, \u003cem\u003eSunshine Monument\u003c/em\u003e depicts a flow of figures continuously moving through the structure or falling off its edges. The animations highlight the contrast between the ephemeral flow of short-term visitors to a museum site and the long-term engagement of its stakeholders, from artists to staff and patrons.\u003c/p\u003e","primary_media_id":55913,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.7215686274509804,"created_at":"2024-08-01T14:24:28.858-04:00","updated_at":"2026-11-02T23:26:57.317-05:00","block_editor":{"data":{"id":"4193","type":"block_editor","attributes":{"id":4193,"exhibition_id":1396,"page_id":null,"created_at":"2025-06-16T12:38:27.411-04:00","updated_at":"2025-06-16T12:38:27.411-04:00","regions":[{"data":{"id":"22261","type":"region","attributes":{"id":22261,"position":1,"columns":12,"block_editor_id":4193,"created_at":"2025-02-19T09:52:07.782-05:00","updated_at":"2025-07-11T12:17:02.907-04:00","region_components":[{"data":{"id":"40572","type":"region_component","attributes":{"id":40572,"component_id":14786,"component_type":"TextComponent","position":1,"region_id":22261,"created_at":"2025-02-19T09:52:07.790-05:00","updated_at":"2025-07-11T12:17:02.918-04:00","component":{"data":{"id":"14786","type":"component","attributes":{"id":14786,"exhibition_id":1396,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003ePeter Burr\u003c/strong\u003e (b. 1980; Brooklyn, New York) is a Brooklyn-based artist whose practice often engages with tools of the video game industry in the form of immersive cinematic artworks. His works have been presented internationally at Documenta 14, Athens (2017); MoMA PS1, New York; and the Barbican Centre, London, among others. Burr previously worked under the alias Hooliganship and founded the video label Cartune Xprez, through which he produced hundreds of live multimedia exhibitions and touring programs showcasing a multigenerational group of artists at the forefront of experimental animation. His work has been recognized through grants and awards including a Guggenheim Fellowship, a Creative Capital grant, and a Sundance New Frontier Fellowship.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1052","type":"exhibition","attributes":{"id":1052,"title":"Rick Silva: Liquid Crystal","start_time":"2023-04-11T00:00:00.000-04:00","end_time":"2023-07-24T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/rick-silva","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/20911\"\u003eRick Silva\u003c/a\u003e’s \u003cem\u003eLiquid Crystal\u003c/em\u003e is a series of seven videos, one for each day of the week, that explore the relationship between natural and technological environments. Each video starts with a view of a natural surface—such as soil with leaves and moss, sand, gravel, snow, and a broken sheet of ice—that the artist’s hands then push aside, revealing a screen with colorful synthesized video patterns and effects. As an electronic optical device using the light-modulating properties of liquid crystals, the display already employs natural phenomena and materials. Silva’s video series builds on this connection by alluding to the natural cycles of sunrise and sunset and the seasonal changes captured in the surfaces. The extraction of natural resources is a recurring motif in Silva’s work; in \u003cem\u003eLiquid Crystal\u003c/em\u003e, the artist, whose grandfather was a diamond miner in Brazil, quite literally digs into nature in order to reveal video patterns in the technological environment of whitney.org. Silva’s process both unearths a past and points to the future in technologies yet to be built from raw materials, thus interweaving strands of time. Silva’s hands function as a metaphor of artistic creation and suggest the manual labor of “mining” natural environments to support technological systems. \u0026nbsp;\u003c/p\u003e","primary_media_id":55106,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.8784313725490196,"created_at":"2023-03-30T11:42:20.506-04:00","updated_at":"2026-11-02T23:22:24.770-05:00","block_editor":{"data":{"id":"3647","type":"block_editor","attributes":{"id":3647,"exhibition_id":1052,"page_id":null,"created_at":"2025-06-16T12:38:16.525-04:00","updated_at":"2025-06-16T12:38:16.525-04:00","regions":[{"data":{"id":"22231","type":"region","attributes":{"id":22231,"position":1,"columns":12,"block_editor_id":3647,"created_at":"2025-02-19T09:52:05.370-05:00","updated_at":"2025-07-11T12:04:37.447-04:00","region_components":[{"data":{"id":"40523","type":"region_component","attributes":{"id":40523,"component_id":14760,"component_type":"TextComponent","position":1,"region_id":22231,"created_at":"2025-02-19T09:52:05.381-05:00","updated_at":"2025-07-11T12:04:37.456-04:00","component":{"data":{"id":"14760","type":"component","attributes":{"id":14760,"exhibition_id":1052,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eRick Silva\u003c/strong\u003e (b. 1977; Piracicaba, Brazil) is a Brazilian American artist whose videos, websites, and installations explore virtuality, futurology, and speculative ecologies. His work has been exhibited at institutions worldwide including the Centre Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville, Arkansas; and the Modern Art Museum of Fort Worth, Texas. He has had solo exhibitions at TRANSFER, New York; Wil Aballe Art Projects, Vancouver, Canada; New Shelter Plan, Copenhagen; and Ditch Projects, Springfield, Oregon. He has been featured in \u003cem\u003eArtforum\u003c/em\u003e, \u003cem\u003eWIRED\u003c/em\u003e, and Rhizome’s \u003cem\u003eNet Art Anthology\u003c/em\u003e. He lives in Eugene, Oregon, where he is an associate professor at the University of Oregon.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1033","type":"exhibition","attributes":{"id":1033,"title":"Amelia Winger-Bearskin: SKY/WORLD DEATH/WORLD","start_time":"2022-12-15T00:00:00.000-05:00","end_time":"2023-04-10T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/amelia-winger-bearskin","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/20683\"\u003eAmelia Winger-Bearskin\u003c/a\u003e’s \u003cem\u003eSKY/WORLD DEATH/WORLD\u003c/em\u003e combines animations and text to connect sunrise and sunset with Indigenous myths. The \u003cem\u003eSKY/WORLD\u003c/em\u003e of sunrise references the Haudenosaunee story of Sky Woman, who belonged to the sky people, a tribe rooted in the heavens before the world was created. After falling through a hole made by an uprooted tree, Sky Woman constructed a home on earth from the oceans and mud with the help of animals. Winger-Bearskin pairs abstract animations of dawn created in a game engine with the question “Who benefits from your burnout?” The \u003cem\u003eDEATH/WORLD\u003c/em\u003e of sunset asks “What is made bright by the loss of your light?” and hints at the thin veil between sleep and death. The accompanying animation mixes abstract visuals with a video clip of the artist that had been part of one of her artworks. The work had disappeared but the footage was recovered from the Internet Archive, a testament to both the ephemerality of digital work and the potential of recovery. Winger-Bearskin originally wrote the questions raised in \u003cem\u003eSKY/WORLD DEATH/WORLD\u003c/em\u003e for a series of billboards by the artist collective For Freedoms, of which she is a member.\u003c/p\u003e","primary_media_id":54434,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.7215686274509804,"created_at":"2022-12-09T11:11:40.590-05:00","updated_at":"2026-11-02T23:21:00.761-05:00","block_editor":{"data":{"id":"3627","type":"block_editor","attributes":{"id":3627,"exhibition_id":1033,"page_id":null,"created_at":"2025-06-16T12:38:15.930-04:00","updated_at":"2025-06-16T12:38:15.930-04:00","regions":[{"data":{"id":"22225","type":"region","attributes":{"id":22225,"position":1,"columns":12,"block_editor_id":3627,"created_at":"2025-02-19T09:52:05.156-05:00","updated_at":"2026-04-14T14:45:20.655-04:00","region_components":[{"data":{"id":"40513","type":"region_component","attributes":{"id":40513,"component_id":14754,"component_type":"TextComponent","position":1,"region_id":22225,"created_at":"2025-02-19T09:52:05.164-05:00","updated_at":"2026-04-14T14:45:20.663-04:00","component":{"data":{"id":"14754","type":"component","attributes":{"id":14754,"exhibition_id":1033,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAmelia Winger-Bearskin\u003c/strong\u003e (b. 1979; Rochester, New York) uses artificial intelligence to positively impact communities and the environment. She is the founder of the AI Climate Justice Lab and the Talk to Me About Water collective. Winger-Bearskin’s award-winning podcast \u003cem\u003eWampum.Codes\u003c/em\u003e explores an ethical framework for software development based on Indigenous values of co-creation.\u003c/p\u003e\u003cp class=\"large\"\u003eIn 2022 she was awarded a Sundance Art of Practice Fellowship for \u003cem\u003eSKY WORLD/CLOUD WORLD\u003c/em\u003e. In 2018 she served as a delegate at the summit Fostering Universal Ethics and Compassion through Museums hosted by the Dalai Lama in Dharamshala, India. Her projects have been featured at the Sundance Film Festival and the Museum of Modern Art, New York. Winger-Bearskin is a Banks Family Preeminence Chair of Artificial Intelligence and the Arts at the Digital Worlds Institute, University of Florida, Gainesville. She is Haudenosaunee (Iroquois) and an enrolled member of the Seneca-Cayuga Nation of Oklahoma, Deer Clan, on her mother’s side and Jewish/Baháa’í on her late father’s side.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"974","type":"exhibition","attributes":{"id":974,"title":"Sara Ludy: Tumbleweeds","start_time":"2022-05-25T00:00:00.000-04:00","end_time":"2022-12-14T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/sara-ludy","primary_text":"\u003cp class=\"large\"\u003eIn \u003cem\u003eTumbleweeds\u003c/em\u003e, \u003ca href=\"/artists/20604\"\u003eSara Ludy\u003c/a\u003e created a continuously evolving animated map of light points that corresponded to a performative intervention in the desert of New Mexico. Over the duration of the project, she attached shards of glass to tumbleweeds with biodegradable twine and released them into the landscape. Short video clips of light reflected by the shards appeared in the online map. As the artist released more tumbleweeds, she updated the animated “star maps” on a biweekly basis. Using materials that she drew out of the desert landscape—tumbleweeds and glass—Ludy’s project explores connections between nature and the online space, as well as craft practices of tying knots and techniques of visualizing data.\u003c/p\u003e\u003cp class=\"large\"\u003eLudy’s work highlighted the differences between space and time in the physical and online world: she intentionally obscured the scale of the territory represented by the maps, underscoring the distortions of space that occur in virtual environments. The light points “traveled” in time from the browser window at sunrise to the one at sunset, suggesting the timelessness of internet visuals that are not bound by conventional durations or natural cycles. Ludy was inspired by the physics concept of quantum superposition, the ability of a system—be it particles, waves, or an online map—to exist in multiple states simultaneously until it is measured. When the performance ended and no more tumbleweeds were released, a final star map collapsed both the sunrise and sunset version of the map into static points of light, creating an abstract digital painting. A video documents all the animated star maps created during the run of the project.\u003c/p\u003e","primary_media_id":52856,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.42745098039215684,"created_at":"2022-05-06T17:00:32.362-04:00","updated_at":"2026-11-02T23:16:07.760-05:00","block_editor":{"data":{"id":"3601","type":"block_editor","attributes":{"id":3601,"exhibition_id":974,"page_id":null,"created_at":"2025-06-16T12:38:14.803-04:00","updated_at":"2025-06-16T12:38:14.803-04:00","regions":[{"data":{"id":"22214","type":"region","attributes":{"id":22214,"position":1,"columns":12,"block_editor_id":3601,"created_at":"2025-02-19T09:52:04.809-05:00","updated_at":"2025-07-11T12:06:17.436-04:00","region_components":[{"data":{"id":"40497","type":"region_component","attributes":{"id":40497,"component_id":14745,"component_type":"TextComponent","position":1,"region_id":22214,"created_at":"2025-02-19T09:52:04.817-05:00","updated_at":"2025-07-11T12:06:17.447-04:00","component":{"data":{"id":"14745","type":"component","attributes":{"id":14745,"exhibition_id":974,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eSara Ludy\u003c/strong\u003e (b. 1980; Orange, California) is an artist and composer working in a wide range of mediums including digital painting, animation, virtual reality, websites, installation, and sound. Through an interdisciplinary practice, she generates hybrid forms from the confluence of nature and simulation to explore notions of immateriality and being.\u003c/p\u003e\u003cp class=\"large\"\u003eLudy’s work has been exhibited at institutions including the Museum of Contemporary Art, Chicago; the Vancouver Art Gallery, Canada; the Berkeley Art Museum and Pacific Film Archive, California; the Boulder Museum of Contemporary Art, Colorado; and Künstlerhaus Bethanien, Berlin. Her work has been featured in \u003cem\u003eModern Painters\u003c/em\u003e, the \u003cem\u003eNew York Times\u003c/em\u003e, \u003cem\u003eArtforum\u003c/em\u003e, \u003cem\u003eArt in America\u003c/em\u003e, and \u003cem\u003eCultured\u003c/em\u003e. Ludy lives and works in Placitas, New Mexico.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"955","type":"exhibition","attributes":{"id":955,"title":"Ryan Kuo: Hateful Little Thing","start_time":"2021-10-27T00:00:00.000-04:00","end_time":"2022-05-24T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/ryan-kuo","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/20272\"\u003eRyan Kuo\u003c/a\u003e’s \u003cem\u003eHateful Little Thing\u003c/em\u003e consists of text boxes that replicate and cover the pages of whitney.org in a new sequence each time the work is launched. Conceived by the artist as a separate persona that expresses its frustrations without inhibition, \u003cem\u003eHateful Little Thing\u003c/em\u003e reflects Kuo’s own encounters in online platforms, workplaces, and institutional settings.\u003c/p\u003e\u003cp class=\"large\"\u003eTaking up “white space”—literally the white background of whitney.org but also the structural whiteness of institutional power—the work’s comments highlight the complexities of hate, racism, and exclusion. The short texts allude to erasures that often take place in white space, talk back to the Museum, engage its audience, and comment on the hypocrisies surrounding hatred, such as the assertion that hate has no place in society even as it clearly persists.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eHateful Little Thing\u003c/em\u003e creates its own version of gallery labels (the texts used by museums to inform visitors about artworks), resembling official text identifying Sunrise/Sunset projects and suggesting a reframing of the institutional content. With its insistent intrusions, \u003cem\u003eHateful Little Thing\u003c/em\u003e is both disruptive and poetic as it explores pressing issues of diversity and exclusion.\u003c/p\u003e","primary_media_id":50170,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.44313725490196076,"created_at":"2021-10-25T12:32:24.343-04:00","updated_at":"2026-11-02T23:14:25.128-05:00","block_editor":{"data":{"id":"3591","type":"block_editor","attributes":{"id":3591,"exhibition_id":955,"page_id":null,"created_at":"2025-06-16T12:38:13.720-04:00","updated_at":"2025-06-16T12:38:13.720-04:00","regions":[{"data":{"id":"22211","type":"region","attributes":{"id":22211,"position":1,"columns":12,"block_editor_id":3591,"created_at":"2025-02-19T09:52:04.705-05:00","updated_at":"2025-07-11T12:05:57.353-04:00","region_components":[{"data":{"id":"40493","type":"region_component","attributes":{"id":40493,"component_id":14742,"component_type":"TextComponent","position":1,"region_id":22211,"created_at":"2025-02-19T09:52:04.711-05:00","updated_at":"2025-07-11T12:05:57.366-04:00","component":{"data":{"id":"14742","type":"component","attributes":{"id":14742,"exhibition_id":955,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eRyan Kuo\u003c/strong\u003e’s (b. 1982; Elkins, West Virginia) works are process-based and diagrammatic, often invoking a state of argument. He has used video game engines, web and user-experience (UX) design, chatbots, productivity software, and technical writing to produce circuitous and unresolved movements in which objects are explored with regard to their significance in the context of white supremacy.\u003c/p\u003e\u003cp class=\"large\"\u003eKuo’s work has been shown at M+ Hong Kong; the Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York; the Queens Museum; Bitforms Gallery, New York; TRANSFER, Los Angeles; left gallery, Berlin; and the Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts. It has been featured in \u003ca href=\"https://www.artforum.com/print/201910/the-artists-artists-81362\"\u003e\u003cem\u003eArtforum\u003c/em\u003e\u003c/a\u003e, \u003cem\u003eArt In America\u003c/em\u003e, \u003ca href=\"https://bombmagazine.org/articles/alien-and-sedition-ryan-kuo-interviewed/\"\u003e\u003cem\u003eBOMB\u003c/em\u003e\u003c/a\u003e, and at \u003ca href=\"http://rhizome.org/editorial/2017/nov/30/artist-profile-ryan-kuo/\"\u003eRhizome\u003c/a\u003e. Kuo was a 2022 Knight Arts + Tech Fellow and a resident at the Center for Afrofuturist Studies, Iowa City; Pioneer Works, New York; and the Queens Museum Studio Program.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"933","type":"exhibition","attributes":{"id":933,"title":"LaTurbo Avedon:  Morning Mirror / Evening Mirror","start_time":"2021-03-03T00:00:00.000-05:00","end_time":"2021-10-26T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Mar 3–Oct 26, 2021","url":"/exhibitions/laturbo-avedon","primary_text":"\u003cp class=\"large\"\u003eFor \u003cem\u003eMorning Mirror/Evening Mirror\u003c/em\u003e, \u003ca href=\"/artists/20185\"\u003eLaTurbo Avedon\u003c/a\u003e created fourteen videos that depict digital flythroughs of a 3D apartment within the frame of a virtual mirror overlaid on whitney.org. Seven scenes for sunrise and sunset, respectively, are shuffled to play each day of the week, offering glimpses into the apartment inhabited by Avedon’s virtual selves.\u003c/p\u003e\u003cp class=\"large\"\u003eSince 2009, LaTurbo Avedon has worked only as an avatar, spending thousands of hours on the creation and exploration of virtual worlds and identities. Their fascination with virtual mirrors led them to create a \u003ca href=\"https://www.unicode.org/L2/L2019/19098-mirror-emoji.pdf\" rel=\"noopener noreferrer\"\u003eproposal for a mirror emoji\u003c/a\u003e, which was accepted and released as part of the Unicode 13.0 emoji character library.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eMorning Mirror/Evening Mirror\u003c/em\u003e conveys the peculiarities of virtual reflection, rendering scenes that exist at the threshold of virtual worlds and the physical environments in which our computers are placed. Functioning as both a surface for reflection and a window into a different world, the mirror shows nature flourishing across living rooms as well as green screens and stage lights consuming the home studio. Launched as online communication became the dominant mode of connection during global pandemic lockdowns, \u003cem\u003eMorning Mirror/Evening Mirror\u003c/em\u003e highlights the blurring of our virtual and physical existence.\u003c/p\u003e","primary_media_id":49094,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.011764705882352941,"created_at":"2021-02-11T14:23:06.933-05:00","updated_at":"2026-11-02T23:11:32.827-05:00","block_editor":{"data":{"id":"3575","type":"block_editor","attributes":{"id":3575,"exhibition_id":933,"page_id":null,"created_at":"2025-06-16T12:38:13.131-04:00","updated_at":"2025-06-16T12:38:13.131-04:00","regions":[{"data":{"id":"22203","type":"region","attributes":{"id":22203,"position":1,"columns":12,"block_editor_id":3575,"created_at":"2025-02-19T09:52:04.470-05:00","updated_at":"2025-07-11T12:06:47.346-04:00","region_components":[{"data":{"id":"40482","type":"region_component","attributes":{"id":40482,"component_id":14737,"component_type":"TextComponent","position":1,"region_id":22203,"created_at":"2025-02-19T09:52:04.478-05:00","updated_at":"2025-07-11T12:06:47.353-04:00","component":{"data":{"id":"14737","type":"component","attributes":{"id":14737,"exhibition_id":933,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eLaTurbo Avedon\u003c/strong\u003e (b. 1988; 2008/09, Second Life) is a pioneering artist and curator, celebrated for their work in the digital and virtual art realms. As a purely virtual persona, Avedon blurs the lines between identity, technology, and creativity. Emerging as an avatar in online spaces, they challenge traditional notions of authorship and existence in art, using their fictional status as a lens to explore self-expression in the digital age.\u003c/p\u003e\u003cp class=\"large\"\u003eAvedon’s process of character creation spans gaming, performance, and exhibitions. Their work has appeared in exhibitions and presentations internationally, including at the Museum of Applied Arts (MAK), Vienna; the Manchester International Festival, United Kingdom (2020); Transmediale, Berlin; HeK (House of Electronic Arts), Basel, Switzerland; HMKV (Hartware MedienKunstVerein), Dortmund, Germany; Barbican Centre, London; TRANSFER, New York; and Galeries Lafayette, Paris.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"435","type":"exhibition","attributes":{"id":435,"title":"American Artist: Looted","start_time":"2020-07-21T00:00:00.000-04:00","end_time":"2021-03-02T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/american-artist","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/17525\"\u003eAmerican Artist\u003c/a\u003e’s \u003cem\u003eLooted\u003c/em\u003e temporarily replaces all of the images on whitney.org with plywood textures while page backgrounds go black and text fades. Symbolically and literally, the work boards up the Whitney’s website in an act of both redaction and refusal. \u003cem\u003eLooted\u003c/em\u003e was created at a time when many museums, including the Whitney, had covered their physical entrances and windows with plywood in response to protests after the May 2020 murder of George Floyd.\u0026nbsp;\u003cbr\u003e\u0026nbsp;\u003cbr\u003eThough it is crucial not to conflate looting with protest, some did occur in the shadow of protests in New York and other US cities that year denouncing racial injustice and police brutality. While almost universally condemned, some viewed the acts of vandalism as expressions of long-simmering frustrations and demonstrations against symbols seen as perpetuating state violence, systemic racism, and capitalist exploitation.\u0026nbsp;\u003cbr\u003e\u0026nbsp;\u003cbr\u003eAmerican Artist extended this tension between protest and looting to the online space, the primary site for viewing art and cultural programming during the COVID-19 pandemic. As an intervention to a museum website, the work also alludes to colonialist practices in many Western collections, as well as activist and artistic critiques of cultural institutions filled with “loot.” \u003cem\u003eLooted\u003c/em\u003e underscores that no space remains unaffected by the examination of, and demands for, racial justice—and it questions the power structures often blocking access to art.\u003c/p\u003e","primary_media_id":47520,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.00392156862745098,"created_at":"2020-07-06T12:39:19.915-04:00","updated_at":"2026-11-02T23:09:02.096-05:00","block_editor":{"data":{"id":"2657","type":"block_editor","attributes":{"id":2657,"exhibition_id":435,"page_id":null,"created_at":"2025-06-16T12:37:26.526-04:00","updated_at":"2025-06-16T12:37:26.526-04:00","regions":[{"data":{"id":"22201","type":"region","attributes":{"id":22201,"position":1,"columns":12,"block_editor_id":2657,"created_at":"2025-02-19T09:52:02.666-05:00","updated_at":"2025-07-11T12:07:04.667-04:00","region_components":[{"data":{"id":"40479","type":"region_component","attributes":{"id":40479,"component_id":14735,"component_type":"TextComponent","position":1,"region_id":22201,"created_at":"2025-02-19T09:52:02.678-05:00","updated_at":"2025-07-11T12:07:04.687-04:00","component":{"data":{"id":"14735","type":"component","attributes":{"id":14735,"exhibition_id":435,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAmerican Artist\u003c/strong\u003e’s (b. 1989; Altadena, California) work considers the history of technology, race, and knowledge production. Their legal name change to American Artist serves as an ambivalent foundation for their practice. It insists on Blackness as descriptive of an American artist and erases identity in virtual spaces, where “American Artist” is unable to be googled or validated by a computer as a person’s name.\u003c/p\u003e\u003cp class=\"large\"\u003eArtist is a 2018–19 recipient of the Queens Museum Jerome Foundation Fellowship, the 2024 New York Artadia Award, and a Trellis Art Fund grantee. They are a former resident of Smack Mellon Gallery, Brooklyn; Red Bull Arts, Detroit; and Abrons Art Center, New York, among others. \u0026nbsp;They completed the Whitney Museum of American Art’s Independent Study Program in 2017. American Artist has exhibited at the Whitney, the Guggenheim Museum, the Museum of Modern Art, and the Studio Museum in Harlem in New York; the Museum of Contemporary Art, Chicago; Kunsthalle Basel, Switzerland; and Nam June Paik Art Center, Gyeonggi-do, South Korea. Artist is a former co-director of the School for Poetic Computation and a faculty member at Yale University in New Haven, Connecticut.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"420","type":"exhibition","attributes":{"id":420,"title":"Kristin Lucas: Speculative Habitat for Sponsored Seabirds","start_time":"2019-11-19T00:00:00.000-05:00","end_time":"2020-07-20T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/kristin-lucas","primary_text":"\u003cp class=\"large\"\u003eIn \u003cem\u003eSpeculative Habitat for Sponsored Seabirds\u003c/em\u003e, \u003ca href=\"/artists/19594\"\u003eKristin Lucas\u003c/a\u003e turns whitney.org into a “living” environment for animated flamingos and a penguin. The 3D animals represent actual seabirds sponsored by the artist through the \u003ca href=\"https://tourduvalat.org/en/actions/dynamique-populations-de-flamants-roses/\" rel=\"noopener noreferrer\"\u003eTour du Valat Research Institute for the Conservation of Mediterranean Wetlands\u003c/a\u003e (based in Arles, France) and the \u003ca href=\"http://seabirds.org/\" rel=\"noopener noreferrer\"\u003eOrganization for the Conservation of Penguins\u003c/a\u003e [1997−2023] (based in the Falkland Islands off Argentina), both of which have supported the preservation of environments and species. Usually geographically distant species, flamingos and penguins here inhabit the same space, highlighting the increasing fusion of climate zones on the planet. A rotating signpost reading “The Long and Short of It” along with the actual tag numbers of the sponsored flamingos and the name of the penguin promise a summary that never quite arrives. Instead, the animated landscape alludes to the long and short in the perception of time frames: the roughly 4.6 billion years of Earth’s existence, the 300,000 years that \u003cem\u003eHomo sapiens\u003c/em\u003e have inhabited the planet, and the short time remaining to act on what scientific climate forecasts have predicted.\u003c/p\u003e","primary_media_id":45948,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.3568627450980392,"created_at":"2019-10-24T18:30:00.950-04:00","updated_at":"2026-11-02T23:07:13.990-05:00","block_editor":{"data":{"id":"2641","type":"block_editor","attributes":{"id":2641,"exhibition_id":420,"page_id":null,"created_at":"2025-06-16T12:37:26.164-04:00","updated_at":"2025-06-16T12:37:26.164-04:00","regions":[{"data":{"id":"22199","type":"region","attributes":{"id":22199,"position":1,"columns":12,"block_editor_id":2641,"created_at":"2025-02-19T09:52:02.562-05:00","updated_at":"2025-07-11T12:07:21.181-04:00","region_components":[{"data":{"id":"40477","type":"region_component","attributes":{"id":40477,"component_id":14733,"component_type":"TextComponent","position":1,"region_id":22199,"created_at":"2025-02-19T09:52:02.581-05:00","updated_at":"2025-07-11T12:07:21.212-04:00","component":{"data":{"id":"14733","type":"component","attributes":{"id":14733,"exhibition_id":420,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eKristin Lucas\u003c/strong\u003e (b. 1968; Davenport, Iowa) explores the impact of technology on humanity, blurring the boundary between the technological and corporeal.\u003c/p\u003e\u003cp class=\"large\"\u003eHer augmented reality, video, installation, net art, and performance works have been presented internationally by museums and galleries, including the New Museum, the Museum of Modern Art, and the Guggenheim Museum in New York; ZKM Center for Art and Media Karlsruhe, Germany; FACT Liverpool, United Kingdom; HeK (House of Electronic Arts), Basel, Switzerland; and the Nam June Paik Art Center, Gyeonggi-do, South Korea. She is the recipient of numerous awards and grants including the Rema Hort Mann Foundation Grant (1998), New York Foundation for the Arts Fellowship (1998), Andrea Frank Foundation Grant (1999), Edith Russ Site for Media Art Stipend (2008), New York State Council on the Arts Individual Artist Grant (2020), and Rhizome commissions, among others. Lucas is an associate professor of studio art at the University of Texas, Austin.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"304","type":"exhibition","attributes":{"id":304,"title":"exonemo: 0 to 1 / 1 to 0","start_time":"2019-02-06T00:00:00.000-05:00","end_time":"2019-11-18T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/exonemo","primary_text":"\u003cp class=\"large\"\u003eIn its project \u003cem\u003e0 to 1 / 1 to 0\u003c/em\u003e, the artist duo known as \u003ca href=\"/artists/19205\"\u003eexonemo\u003c/a\u003e uses the passage between night and day to explore the digital and natural environments we inhabit. Every day at sunrise and sunset, webpages viewed on whitney.org slowly recede into the browser window to reveal a laptop screen, and beyond that, the sun rising or setting over Manhattan. The webpages are still functional in their minimized state, but the doubling of the screen calls attention to the hardware through which users experience whitney.org. In the natural world, the two- to three-minute change between night and day marks a powerful yet gradual transition that has no equivalent in the digital space, where the switch between the binary code of 0’s and 1’s is discontinuous. With its project, exonemo turns the daily moments of sunrise and sunset into a transition between both the digital and natural environments, highlighting the interconnectedness of the digital and natural world as well as their fundamental differences.\u003c/p\u003e","primary_media_id":41294,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.4666666666666667,"created_at":"2018-12-19T09:38:28.000-05:00","updated_at":"2026-11-02T23:05:03.494-05:00","block_editor":{"data":{"id":"2469","type":"block_editor","attributes":{"id":2469,"exhibition_id":304,"page_id":null,"created_at":"2025-06-16T12:34:39.089-04:00","updated_at":"2025-06-16T12:34:39.089-04:00","regions":[{"data":{"id":"22192","type":"region","attributes":{"id":22192,"position":1,"columns":12,"block_editor_id":2469,"created_at":"2025-02-19T09:52:02.069-05:00","updated_at":"2025-08-08T11:16:21.732-04:00","region_components":[{"data":{"id":"40468","type":"region_component","attributes":{"id":40468,"component_id":14727,"component_type":"TextComponent","position":1,"region_id":22192,"created_at":"2025-02-19T09:52:02.076-05:00","updated_at":"2025-08-08T11:16:21.740-04:00","component":{"data":{"id":"14727","type":"component","attributes":{"id":14727,"exhibition_id":304,"text":"\u003cp class=\"large\"\u003eThe Japanese artist duo \u003cstrong\u003eexonemo\u003c/strong\u003e creates experimental projects that explore the paradoxes of the digital and analog environments. Formed by Kensuke Sembo (b. 1972; Tokyo, Japan) and Yae Akaiwa (b. 1973; Fukuoka, Japan) in 1996, exonemo has explored human physicality and emotions in the network age through critical and humorous approaches.\u003c/p\u003e\u003cp class=\"large\"\u003eTheir work has been featured in group and solo exhibitions worldwide, including a major solo show at the Tokyo Photographic Art Museum (2020). Their awards include the Prix Ars Electronica 2006 Golden Nica and the Japanese Agency for Cultural Affairs’ 2021 Art Encouragement Prize for New Artists. Since 2012 they have organized the “Internet Yami-Ichi,” a large flea market that has taken place in Tokyo and New York that makes the often immaterial flotsam of cyberspace tangible in online-themed objects. The artists have lived and worked in New York since 2015.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"258","type":"exhibition","attributes":{"id":258,"title":"Carla Gannis: Lady Ava Interface","start_time":"2018-04-10T00:00:00.000-04:00","end_time":"2019-02-06T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/carla-gannis","primary_text":"\u003cp class=\"large\"\u003eReferencing Lady Ada Lovelace (1815–1852), known as the first computer programmer, \u003ca href=\"/artists/18614\"\u003eCarla Gannis\u003c/a\u003e’s \u003cem\u003eLady Ava Interface\u003c/em\u003e presents itself as an artificial intelligence assistant. At sunrise and sunset, it provides visitors to whitney.org with a menu of quirky calls to action and conjures a miniature Whitney from a smartphone. While mainstream software agents such as Siri, Alexa, and Cortana offer practical information to augment and increase their users’ so-called efficiency, Ava counters the generic and purely functional aspects of technology that often begin and end our days. Ava’s appearance is inspired by the peculiar works of Italian Renaissance painter Giuseppe Arcimboldo, who assembled images of fruits, vegetables, and fish into strange yet recognizable portraits. Gannis’s Ava is an assortment of 3D-modeled emojis, clouds, and cookies—familiar symbols of internet culture—that form a cartoonish female android. \u003cem\u003eLady Ava Interface\u003c/em\u003e continues Gannis’s practice of exploring well-known paintings through the iconography of smartphones and the internet, thereby tracing how symbolic languages have developed throughout art history.\u003c/p\u003e","primary_media_id":61313,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.011764705882352941,"created_at":"2018-04-09T13:21:26.000-04:00","updated_at":"2026-11-02T23:03:49.970-05:00","block_editor":{"data":{"id":"2401","type":"block_editor","attributes":{"id":2401,"exhibition_id":258,"page_id":null,"created_at":"2025-06-16T12:34:36.050-04:00","updated_at":"2025-06-16T12:34:36.050-04:00","regions":[{"data":{"id":"22167","type":"region","attributes":{"id":22167,"position":1,"columns":12,"block_editor_id":2401,"created_at":"2025-02-19T09:52:01.242-05:00","updated_at":"2025-07-11T12:15:41.674-04:00","region_components":[{"data":{"id":"40438","type":"region_component","attributes":{"id":40438,"component_id":14706,"component_type":"TextComponent","position":1,"region_id":22167,"created_at":"2025-02-19T09:52:01.250-05:00","updated_at":"2025-07-11T12:15:41.687-04:00","component":{"data":{"id":"14706","type":"component","attributes":{"id":14706,"exhibition_id":258,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eCarla Gannis\u003c/strong\u003e (b. 1970; Oxford, North Carolina) has worked with an array of mediums and tools—including drawing, painting, video, interactivity, extended reality, and machine-learning models—to produce dark and often humorous explorations of the human condition. Gannis received an MFA in painting from Boston University and is an industry professor at New York University’s Tandon School of Engineering.\u003c/p\u003e\u003cp class=\"large\"\u003eGannis’s work has appeared in numerous exhibitions nationally and internationally. She has had solo exhibitions and screenings at venues including Midnight Moment, Times Square Arts, New York; DAM Projects, Berlin; TRANSFER, New York; the Hunter Museum of American Art, Chattanooga, Tennessee; the Halsey Institute of Contemporary Art, College of Charleston, South Carolina; and the Pérez Art Museum, Miami. Her work has been featured in numerous publications, including the \u003cem\u003eNew York Times\u003c/em\u003e, \u003cem\u003eEl País\u003c/em\u003e, \u003cem\u003eARTNews\u003c/em\u003e, and the \u003cem\u003eLos Angeles Times\u003c/em\u003e, among others. She is an alumna of the New Museum’s NEW INC incubator.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"239","type":"exhibition","attributes":{"id":239,"title":"Elisa Giardina Papa: Labor of Sleep","start_time":"2017-10-24T00:00:00.000-04:00","end_time":"2018-04-09T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/labor-of-sleep","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/18438\"\u003eElisa Giardina Papa\u003c/a\u003e’s \u003cem\u003eLabor of Sleep, Have you been able to change your habits??\u003c/em\u003e consists of a series of short video clips—one for sunrise, one for sunset—that plays out over nine days. Humorously referencing self-improvement apps, the work examines how sleep has become an opportunity for the gathering of behavioral and biological data. Such information supposedly helps users optimize their sleeping patterns, but it also turns the time that bodies need for rest and replenishment into a form of labor devoted to data extraction. Giardina Papa’s work highlights how digital devices can function as both a poison and its remedy, providing relief for the time they take away. The daily exercises and assessments suggested by \u003cem\u003eLabor of Sleep\u003c/em\u003e rely on a range of motifs to reveal the absurdities of technologically supported self-optimization. The video clips illustrate how technologies to regulate human sleeping habits exist within the rhythms of a wider system—one that includes humans and nonhumans, extending from organic matter to digital devices themselves.\u003c/p\u003e","primary_media_id":61312,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.4117647058823529,"created_at":"2017-10-23T16:24:12.000-04:00","updated_at":"2026-11-02T23:01:31.631-05:00","block_editor":{"data":{"id":"2381","type":"block_editor","attributes":{"id":2381,"exhibition_id":239,"page_id":null,"created_at":"2025-06-16T12:34:35.306-04:00","updated_at":"2025-06-16T12:34:35.306-04:00","regions":[{"data":{"id":"22160","type":"region","attributes":{"id":22160,"position":1,"columns":12,"block_editor_id":2381,"created_at":"2025-02-19T09:52:01.076-05:00","updated_at":"2025-07-11T12:15:58.814-04:00","region_components":[{"data":{"id":"40431","type":"region_component","attributes":{"id":40431,"component_id":14701,"component_type":"TextComponent","position":1,"region_id":22160,"created_at":"2025-02-19T09:52:01.084-05:00","updated_at":"2025-07-11T12:15:58.823-04:00","component":{"data":{"id":"14701","type":"component","attributes":{"id":14701,"exhibition_id":239,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eElisa Giardina Papa\u003c/strong\u003e (b. 1979; Medicina, Italy) works across large-scale video installation, experimental films, and internet-based art projects to draw attention to those parts of our lives that remain unruly, untranslatable, and incomputable. Giardina Papa received an MFA from the Rhode Island School of Design; a PhD in film, media, and gender studies from the University of California, Berkeley; and is assistant professor of modern culture and media at Brown University in Providence, Rhode Island.\u003c/p\u003e\u003cp class=\"large\"\u003eHer work has been exhibited and screened at the Venice Biennale (2022); the Museum of Modern Art, New York; the Institute of Contemporary Arts, London; Haus der Kulturen der Welt (HKW), Berlin; the Seoul Mediacity Biennale (2018); the Buenos Aires Bienal de la Imagen en Movimiento (2022); the Art Quadriennale di Roma (2016–17); Rhizome; the British Film Institute London Film Festival (2022); the Center for Contemporary Art, Tashkent, Uzbekistan; and M+ Hong Kong, among others.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"229","type":"exhibition","attributes":{"id":229,"title":"Lorna Mills: Caughtinmoment","start_time":"2017-06-21T00:00:00.000-04:00","end_time":"2017-10-23T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/caughtinmoment","primary_text":"\u003cp class=\"large\"\u003eIn \u003cem\u003eCaughtinmoment\u003c/em\u003e \u003ca href=\"/artists/17414\"\u003eLorna Mills\u003c/a\u003e continues her explorations of the GIF as an iconic visual form of the online environment. The project breaks down images of sunrises and sunsets into pixelated components that wriggle and twist in mechanical, jerky motions. The jagged edges of the looping forms position digital visuals as something between film clips and still images, thereby capturing the essential qualities of their abstraction and beauty. \u003cem\u003eCaughtinmoment\u003c/em\u003e remains forever in suspension. It seemingly expands moments of sunrise and sunset into familiar photographic depictions yet immediately contracts them into cutouts that highlight the pixel as a building block of the digital image. The low-resolution, glitchy, and repetitive aesthetics of Mills’s animations invite viewers to contemplate established notions of quality and the value of high-resolution imagery.\u003c/p\u003e","primary_media_id":61314,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.01568627450980392,"created_at":"2017-06-20T17:15:04.000-04:00","updated_at":"2026-11-02T23:00:09.410-05:00","block_editor":{"data":{"id":"2365","type":"block_editor","attributes":{"id":2365,"exhibition_id":229,"page_id":null,"created_at":"2025-06-16T12:34:34.940-04:00","updated_at":"2025-06-16T12:34:34.940-04:00","regions":[{"data":{"id":"22154","type":"region","attributes":{"id":22154,"position":1,"columns":12,"block_editor_id":2365,"created_at":"2025-02-19T09:52:00.916-05:00","updated_at":"2025-07-11T12:16:23.084-04:00","region_components":[{"data":{"id":"40425","type":"region_component","attributes":{"id":40425,"component_id":14696,"component_type":"TextComponent","position":1,"region_id":22154,"created_at":"2025-02-19T09:52:00.923-05:00","updated_at":"2025-07-11T12:16:23.093-04:00","component":{"data":{"id":"14696","type":"component","attributes":{"id":14696,"exhibition_id":229,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eLorna Mills\u003c/strong\u003e (b. 1958; Yorkton, Saskatchewan, Canada) has exhibited her work internationally in both solo and group exhibitions since the early 1990s. Her practice spans a variety of mediums ranging from print, painting, and film and video, to online animated GIFs, which she also incorporates into installation work.\u003c/p\u003e\u003cp class=\"large\"\u003eHer work has been shown at venues and festivals including Transmediale, Berlin; TRANSFER, New York; DAM Projects, Berlin; the Whitney Museum of American Art, New York; the Museum of Contemporary Art, Taipei; the Museum of the Moving Image, Queens; the Carnegie Museum of Art, Pittsburgh; and Centro Cultural São Paulo, Brazil. In March 2016, her work \u003cem\u003eMountain Time/Light\u003c/em\u003e was displayed in New York’s Times Square as part of the Midnight Moment program curated by Times Square Arts.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"268","type":"exhibition","attributes":{"id":268,"title":"Allard van Hoorn: Sunrise / Sunset Haiku Engine","start_time":"2017-05-22T00:00:00.000-04:00","end_time":"2017-06-21T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/allard-van-hoorn","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/18119\"\u003eAllard van Hoorn\u003c/a\u003e’s \u003cem\u003eSunrise/Sunset Haiku Engine\u003c/em\u003e translates the sky above the Whitney Museum of American Art into colors and words. Using the names of the Dutch Boy house paint colors as a “haiku engine,” it generates site-specific poetry for day and night. At sunrise and sunset, a screenshot of a patch of sky above the Whitney is taken from a webcam view of the Manhattan skyline. The image is then pixelated to extract a range of colors, which are matched to swatches of Dutch Boy paints (known for their poetic names). For thirty seconds at sunrise and sunset, whitney.org is tiled with these paint colors and the accompanying labels evoking the sky’s shade of blue or gray at that time. With the project, van Hoorn uses the sky as a free zone of imagination and draws attention to the sensory perception of our environment.\u003c/p\u003e","primary_media_id":2602,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.34509803921568627,"created_at":"2018-05-10T15:38:42.000-04:00","updated_at":"2026-11-02T21:03:49.024-05:00","block_editor":{"data":{"id":"2419","type":"block_editor","attributes":{"id":2419,"exhibition_id":268,"page_id":null,"created_at":"2025-06-16T12:34:36.355-04:00","updated_at":"2025-06-16T12:34:36.355-04:00","regions":[{"data":{"id":"22171","type":"region","attributes":{"id":22171,"position":1,"columns":12,"block_editor_id":2419,"created_at":"2025-02-19T09:52:01.369-05:00","updated_at":"2025-07-11T12:07:57.178-04:00","region_components":[{"data":{"id":"40442","type":"region_component","attributes":{"id":40442,"component_id":14710,"component_type":"TextComponent","position":1,"region_id":22171,"created_at":"2025-02-19T09:52:01.377-05:00","updated_at":"2025-07-11T12:07:57.187-04:00","component":{"data":{"id":"14710","type":"component","attributes":{"id":14710,"exhibition_id":268,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAllard van Hoorn\u003c/strong\u003e (b. 1968; Leiden, Netherlands) is a sound, installation, and performance artist creating choreographies and musical scores for architecture, scenographies for the built environment, and scripts for investigating our relationships to public and architectural spaces. He is the founder and curator of the Platform for Urban Investigation, a nomadic, cross-disciplinary research academy investigating urban environments around the world, working with architects, designers, choreographers, musicians, and visual artists.\u003c/p\u003e\u003cp class=\"large\"\u003eHis work has been shown at institutions and events including the Bucharest Biennale, Yinchuan Biennale, Marrakech Biennale, and Istanbul Design Biennial (all 2016); Tbilisi Triennial and Bienal de la Habana (both 2015); Shenzhen/Hong Kong Bi-City Biennale of Urbanism and Architecture (2013); Gwangju Design Biennale (2011); International Studio and Curatorial Program, Brooklyn; the Rosenthal Contemporary Arts Center, Cincinnati; de Appel, Amsterdam; Storefront for Art and Architecture, New York; Stedelijk Museum, Amsterdam; Pinakothek der Moderne, Munich; and the Van Abbemuseum, Eindhoven, Netherlands.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"262","type":"exhibition","attributes":{"id":262,"title":"Rafaël Rozendaal: Almost There","start_time":"2015-05-01T00:00:00.000-04:00","end_time":"2017-05-21T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/rafael-rozendaal","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/17027\"\u003eRafaël Rozendaal\u003c/a\u003e’s net art projects use the browser window to create abstract pictorial space. Although many suggest paintings, they are all rooted in the digital vernacular that frames how we navigate the online environment. In Almost There Rozendaal uses black and white circular shapes—vaguely suggestive of the sun or full moon—to “eclipse” the Whitney’s website. As visitors to whitney.org move the cursor over the black or white circle obscuring the site, they cast spinning shadows or light over the page that obscure or expose its content, suspending it between legibility and illegibility, visibility and invisibility. With Almost There Rozendaal strives to capture the states between sleeping and waking—the moment when one stops thinking and starts dreaming (or the other way around).\u003c/p\u003e","primary_media_id":8089,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.4980392156862745,"created_at":"2018-05-09T12:54:59.000-04:00","updated_at":"2026-11-02T20:54:56.655-05:00","block_editor":{"data":{"id":"2407","type":"block_editor","attributes":{"id":2407,"exhibition_id":262,"page_id":null,"created_at":"2025-06-16T12:34:36.156-04:00","updated_at":"2025-06-16T12:34:36.156-04:00","regions":[{"data":{"id":"22169","type":"region","attributes":{"id":22169,"position":1,"columns":12,"block_editor_id":2407,"created_at":"2025-02-19T09:52:01.297-05:00","updated_at":"2025-07-11T12:15:14.352-04:00","region_components":[{"data":{"id":"40440","type":"region_component","attributes":{"id":40440,"component_id":14708,"component_type":"TextComponent","position":1,"region_id":22169,"created_at":"2025-02-19T09:52:01.306-05:00","updated_at":"2025-07-11T12:15:14.360-04:00","component":{"data":{"id":"14708","type":"component","attributes":{"id":14708,"exhibition_id":262,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eRafaël Rozendaal\u003c/strong\u003e (b. 1980; Amsterdam, Netherlands) is a Dutch-Brazilian artist who lives and works in New York and uses the internet as his canvas. His artistic practice comprises websites, installations, lenticulars, writings, and lectures. His work has been shown at venues including the Museum of Modern Art, New York; the Los Angeles County Museum of Art; Centre Pompidou, Paris; Aorist’s CodeX at the Venice Biennale (2022); Bienal de Valencia, Spain (2005); Casa França-Brasil, Rio de Janeiro; Takuro Someya Contemporary Art, Tokyo; Seoul Square; the Netherlands Media Art Institute, Amsterdam; and the Stedelijk Museum project space, Amsterdam. It has been featured in numerous publications, among them \u003cem\u003eTime\u003c/em\u003e, the \u003cem\u003eWall Street Journal\u003c/em\u003e, \u003cem\u003eFlash Art\u003c/em\u003e, \u003cem\u003eDazed\u003c/em\u003e, \u003cem\u003eInterview\u003c/em\u003e, \u003cem\u003eWIRED\u003c/em\u003e, \u003cem\u003eArtreview\u003c/em\u003e, \u003cem\u003eMetropolis M\u003c/em\u003e, \u003cem\u003eLa Repubblica\u003c/em\u003e, and \u003cem\u003eVogue\u003c/em\u003e.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"265","type":"exhibition","attributes":{"id":265,"title":"R. Luke DuBois: So many journeys may the sun and moon","start_time":"2011-03-10T00:00:00.000-05:00","end_time":"2011-12-15T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/r-luke-dubois","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eSo many journeys may the sun and moon\u003c/em\u003e by \u003ca href=\"/artists/15259\"\u003eR. Luke DuBois\u003c/a\u003e is a piece of software art based on the works of William Shakespeare. For Sunrise/Sunset, the artist-written software locates couplets in Shakespeare’s works that contain the word “sun” and “moon,” respectively. It then chooses the next word based on a database of words that follow “sun” or “moon” in the original text—a technique called a Markov chain. This choice is repeated for each word in sequence: every two words can be found together somewhere in a Shakespeare text and the project navigates through all of the playwright’s works. The result reads like a never-ending remix of Shakespearean language, with “sun” and “moon” the starting points in each sunset and sunrise sequence that overlays the pages of whitney.org. The work’s title—taken from a couplet spoken by the Player Queen in the play-within-a-play appearing in Act III of \u003cem\u003eHamlet\u003c/em\u003e—hints at the artist’s practice of exploring hyper- and intertextuality within canonical cultural texts.\u003c/p\u003e","primary_media_id":7666,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.2980392156862745,"created_at":"2018-05-09T17:36:08.000-04:00","updated_at":"2026-11-02T20:53:10.358-05:00","block_editor":{"data":{"id":"2413","type":"block_editor","attributes":{"id":2413,"exhibition_id":265,"page_id":null,"created_at":"2025-06-16T12:34:36.272-04:00","updated_at":"2025-06-16T12:34:36.272-04:00","regions":[{"data":{"id":"24858","type":"region","attributes":{"id":24858,"position":1,"columns":12,"block_editor_id":2413,"created_at":"2026-11-02T16:05:30.912-05:00","updated_at":"2026-11-02T16:05:30.912-05:00","region_components":[{"data":{"id":"45857","type":"region_component","attributes":{"id":45857,"component_id":16386,"component_type":"TextComponent","position":1,"region_id":24858,"created_at":"2026-11-02T16:05:30.926-05:00","updated_at":"2026-11-02T16:05:30.926-05:00","component":{"data":{"id":"16386","type":"component","attributes":{"id":16386,"exhibition_id":265,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eR. Luke DuBois\u003c/strong\u003e (b. 1975; Morristown, New Jersey) has exhibited his work at IVAM (Institut Valencià d’Art Modern), Spain; HeK (House of Electronic Arts), Basel, Switzerland; the 2008 Democratic National Convention, Denver; the Weisman Art Museum, University of Minnesota, Minneapolis; the San Jose Museum of Art, California; the National Constitution Center, Philadelphia; the Museum of Contemporary Art, Cleveland; Daelim Museum, Seoul; the Whitworth Art Gallery, Manchester, United Kingdom; the 2007 Sundance Film Festival; the (2007) Sydney Film Festival; SITE Santa Fe; the Orange County Museum of Art, California; the Beall Center for Art and Technology, University of California, Irvine; the Boulder Museum of Contemporary Art, Colorado; the Smithsonian American Art Museum, Washington, DC; the National Portrait Gallery, Washington, DC; the Cooper Hewitt, Smithsonian Design Museum, New York; PROSPECT.2 New Orleans (2011–12); the 2018 London Design Biennale; and the Aspen Institute, Colorado. He has performed compositions at venues including Lincoln Center, the Brooklyn Academy of Music, Carnegie Hall, the Kitchen, the Stone, and Roulette, and has appeared on albums both individually and as part of The Freight Elevator Quartet.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"264","type":"exhibition","attributes":{"id":264,"title":"Ursula Endlicher: Light and Dark Networks","start_time":"2011-12-15T00:00:00.000-05:00","end_time":"2013-03-05T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/ursula-endlicher","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eLight and Dark Networks\u003c/em\u003e consists of two daily online “data performances” inspired by natural networks and affected by the weather and environment. At sunrise visitors encounter depictions of a spider’s web and at sunset a mushroom’s mycelium, a network of hidden branching filaments that absorb nutrients in order for mushrooms to grow. Virtual creatures—a spider and mushrooms impersonated by the artist—enact “data dances” according to changes in their habitat, which is defined by the weather and carbon dioxide (CO2) levels in New York at that moment. The spider web drifts to different locations on the Museum’s website according to wind direction and speed, and the number of mosquitoes buzzing around the web is determined by the CO2 levels in the atmosphere. Stretched across whitney.org, the mycelium changes size based on temperature and “grows” more mushroom videos in response to humidity, while the scale of the mushroom caps and the number of spores are driven by CO2 levels. \u003ca href=\"/artists/9801\"\u003eEndlicher\u003c/a\u003e’s project explores natural and technological networks as living organisms. Investigating the networked nature of both data and the physical environment, as well as their deeper structures, the work playfully examines how both our physical and virtual existence are embedded in networks.\u003c/p\u003e","primary_media_id":53509,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","popularity":0.35294117647058826,"created_at":"2018-05-09T17:22:46.000-04:00","updated_at":"2026-11-02T20:52:07.542-05:00","block_editor":{"data":{"id":"2411","type":"block_editor","attributes":{"id":2411,"exhibition_id":264,"page_id":null,"created_at":"2025-06-16T12:34:36.240-04:00","updated_at":"2025-06-16T12:34:36.240-04:00","regions":[{"data":{"id":"24859","type":"region","attributes":{"id":24859,"position":1,"columns":12,"block_editor_id":2411,"created_at":"2026-11-02T16:09:11.102-05:00","updated_at":"2026-11-02T16:09:11.102-05:00","region_components":[{"data":{"id":"45858","type":"region_component","attributes":{"id":45858,"component_id":16387,"component_type":"TextComponent","position":1,"region_id":24859,"created_at":"2026-11-02T16:09:11.121-05:00","updated_at":"2026-11-02T16:09:11.121-05:00","component":{"data":{"id":"16387","type":"component","attributes":{"id":16387,"exhibition_id":264,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eUrsula Endlicher\u003c/strong\u003e (b. 1965; Vienna, Austria) is an interdisciplinary artist working with interactive media and the internet since the early 1990s. She investigates structural components and interfaces of digital and “natural” networks and creates works in contrasting formats, including net art, augmented reality, artificial intelligence/machine learning, installation, performance, environmental works, and dinners. In her works, humans, machines, and nature are inspired by each other’s behaviors and create new forms and “worlds” between them.\u003c/p\u003e\u003cp class=\"large\"\u003eHer work has been shown at Chronus Art Center, Shanghai; / HeK (House of Electronic Arts), Basel, Switzerland; Transmediale, Berlin; [ACM] SIGGRAPH, Yokohama, Japan; ZERO1 Biennial (2012); in New York at Eyebeam and Harvestworks; on Turbulence.org (1996–2016); and in galleries in the United States and Europe. It has been reviewed in publications such as \u003cem\u003eEIKON\u003c/em\u003e, the \u003cem\u003eBrooklyn Rail\u003c/em\u003e, and \u003cem\u003eLeonardo\u003c/em\u003e. She received the 2024 Austrian Art Award for Media Art by BMKOES, Vienna.\u003c/p\u003e"}}}}}}]}}}]}}}}}],"meta":{"total":1624},"links":{"prev":null,"next":"https://whitney.org/api/exhibitions?page=2","first":"https://whitney.org/api/exhibitions?page=1","last":"https://whitney.org/api/exhibitions?page=55"}}