Born of frustration at the absurd pace of the attention economy, which seems to have precipitated a new age of illegibility, we decided it was time for a new quarterly digest that could be our space for slow reading in the expanding art world. ART & TECH is the result of the efforts of our new Managing Editor, Louis Jebb, formerly of The Art Newspaper, at bridging our online magazine with the experience of a physical print publication. 

The first edition—available now as a downloadable pdf—is dedicated to art’s new hybrid ecology, a fertile zone where artists are increasingly adopting interdisciplinary practices while everyone comes to terms with new ways of doing business across physical and digital domains.

Juliana Vezzetti introduces ART & TECH for Q2 2026 with an interview she conducted back in January with Jebb and Alex Estorick, Founding Editor of Right Click Save. Estorick reiterates one of the magazine’s long-held missions: “How can we foster a fairer and more inclusive cultural economy that reflects the digital condition rather than the analog ways of the past?”

In “The Trouble with Terminology”, the distinguished computer scientist and son of the artist Harold Cohen, Paul Cohen, appraises the language of digital art in one of a series of articles for Right Click Save. Meanwhile, Hans Ulrich Obrist reflects on his 20-year conversation with the celebrated painter David Hockney, which has shaped the artist’s new exhibition at Serpentine, centered on his iPad drawings for the frieze A Year in Normandie. What emerges most vividly from the conversation is Hockney’s long-standing use of new technologies to explore light and layering to painterly effect.

For the interdisciplinary artist Carla Gannis, interviewed by Eva Yisu Ren, technology has long been a lens that can refract, distort, or intensify elation and despair, love and anger, shame and redemption. “I’m less interested in what technology promises,” Gannis says, “than in what it reveals, amplifies, or obscures.” At a time when images have become fuel for deep learning, Danielle Ezzo argues in her latest essay that “photography hasn’t died. If anything, it’s multiplied. More images now move through the world under photographic conventions than ever before, whether or not a camera, in the traditional sense, was involved in their creation.”

In the month that Apple celebrates the 50th anniversary of its founding, the design of the ART & TECH cover pays technostalgic homage to the dialog windows of the Macintosh and PC desktop computers of the early internet age. It is also inspired by Jan Robert Leegte’s beguilingly skeuomorphic Window series of 2022, which Right Click Save featured in a 2023 article “Who Owns the News in Web3?”

The first edition of our new quarterly ends where it all began with an interview with a true crypto native collector: Ryan Zurrer. Having supported the recent acquisition by MoMA of Larva Labs’ iconic project CryptoPunks, the venture capitalist and owner of 1OF1 has done more than most to bring about the mass adoption of digital art. At a moment when the tectonics of the art world are shifting unquestionably in a digital direction, the time is right to slow down and reflect on how a group of outsiders changed the narrative.

‍Download your copy of ART & TECH.

I am loving the fact that the National Gallery, London, has chosen Kengo Kuma Associates as architects of a £350m wing to be constructed adjacent to the existing main 19th-century gallery building, and the 1991 Sainsbury Wing. The new wing, which will provide temporary exhibition space as well as additional galleries for the main collection, will be achieved by building bridged links at upper levels over existing roads and pedestrian walkways.

The Tokyo-based Kuma said in a statement that the National Gallery‘s collection is “a treasure of humanity, and to be entrusted with the expansion that will hold these masterpieces is a responsibility we carry with the greatest care and humility.” He has already proved his museum chops with projects including the Besançon Art Center in France (2014) and the great ship-like V&A Dundee (2018) Kuma will work with two British-based design practices on the project: MICA, and Building Design Partnership (BDP).

The new building will house the National Gallery’s new ventures in collecting and displaying art of the 20th century—the collection has previously been limited to art made before 1900—one that holds the possibility, if not the guarantee, of the exhibition of digital art. To that end, it feels felicitous that Kuma’s work is characterized by the massing of small, particle-like elements, which carry overtones of both pixel art and flow-like generative art such as Fidenza by Tyler Hobbs.

Kuma, whose work is the subject of a new documentary, Particle Dance (2026), is an architect whose work feels well suited to the hybrid age of art.

— Louis Jebb is Managing Editor at Right Click Save.