Whitney Biennial 2026

In Homo Machina (Human Machine, a.k.a. Gay Machine), Gabriela Ruiz combines sculpture with video and surveillance footage, constructing a life-size digital console that functions as a self-portrait. The work reflects on the ways technological systems shape visibility, labor, and control, particularly for brown bodies. Drawing on early Windows-era digital aesthetics, Ruiz rejects the sterile minimal look of contemporary technology in favor of bold color, excess, camp, and spectacle.