As both an artist and Head of Community at Right Click Save, I’m consistently amazed at the innovation emerging from our creative ecosystem. This past week has been especially energizing with the launch of a new objkt labs artist residency program that builds on the success of the VerticalCrypto Art Residency in opening pathways for creators to experiment with blockchain-native art practices while receiving support and mentorship. Grassroots communities continue to inspire me daily: from the enduring impact of Hic et Nunc’s global community to FEMGEN’s long-running work amplifying underrepresented voices to Decentraland’s virtual galleries redefining how we experience art together.

Such initiatives remind me of why I fell in love with digital art in the first place: the potential for technology to democratize creativity and build genuine community. Even while the broader crypto landscape faces its usual volatility, I’m seeing artists double down on experimentation and collectors deepen their engagement with the works themselves. This is a moment that feels both grounded and rich with possibility—exactly the kind of energy we love to spotlight in this newsletter.

— Danielle King, Head of Community at RCS

Rachel Falconer, Head of Creative Technology at Goldsmiths, London, has edited the first edition of The Liminal Review 2025: New Signals in Arts Technologies, an analysis of trends in digital art based on the 2,200 submissions for this year’s Lumen Prize. The report was launched at Onassis ONX, New York, on September 24. “I was particularly struck by the works that harnessed generative AI and large language models to gather, compress, and reconfigure vast archives of imagery,” noted one of the contributors, Annie Bicknell, Curator, Public Programmes at Tate. “These pieces felt like vessels: capable of holding multitudes, offering portals into forgotten or buried moments. They form a kind of memorial—a reminder not just of what has been lost, but of what must not be forgotten.”

The conceptual artist ClownVamp’s interactive public work The Junk Machine (2024)—which explores how artificial intelligence (AI) is corrupting advertising—opens at MAD Arts Museum in Dania Beach, South Florida, on October 2. The installation features a “very pink” robot and an invite to visitors to “Please touch the Red Button” to produce an output of AI-generated “junk mail”.

Expect visually arresting visitor-friendly gaming interfaces, plenty of community interaction and the asking and answering of timely and difficult questions at “The Delusion”, a new exhibition by the London and Berlin-based artist and game designer Danielle Brathwaite-Shirley. At Serpentine North, London, until January 18, 2026.

At Interval, a new gallery space in Clerkenwell, London, run by father and son duo David and Jacob Gryn, the Los Angeles-based artist Petra Cortright shows 12 new works in the exhibition “NOBLEcurve”. Cortright, who spoke to Right Click Save in 2023 about video work inspired by California’s post-drought superblooms, is showing floral digital paintings on aluminium and a video artwork in company with canvases by 17th- and 18th-century artists such as José de Arrelano, Jan van Os, and Gaspar Pieter Verbruggen II. In collaboration with Sam Fogg and Rafael Valls Gallery.

For the opening of its new London space on Upper Street, Islington, Nguyen Wahed presents the Toronto-based conceptual artist Mitchell F. Chan’s “Insert(Coins)”—exhibited at the gallery’s East 12th Street, New York, site earlier this year. The exhibition includes Chan’s most recent project, The Zantar Trilogy (2025), a series of real video games set inside a fictional video-game economy.

I had the pleasure of meeting Andrew Roberts recently and seeing his powerful installation Haunted at the SCAD Museum of Art, in Savannah, Georgia (until January 5 2026). The video draws from his love of horror video games and first-person shooters, weaving in his personal experience with family separations caused by national borders. In the work, Roberts recreates a Jack in the Box on the US–Mexico border, a site where families, including his own, would gather to see one another across the divide. The result is a haunting meditation on memory, play, and the politics of belonging.

In 2022, I interviewed Auriea Harvey and it has been incredible to witness the expansion of her practice since then: from exhibitions at the Palais de Tokyo, Paris, to her 2024 solo survey at the Museum of the Moving Image, New York. Her latest project, (This Room is a Sculpture Called) PROPHECY, a newly commissioned body of work curated by Pita Arreola, transforms the entire room into a sculpture. Presented as the inaugural exhibition at arebyte’s new Digital Art Centre in Camden, North London (until December 21), it marks not only a milestone for Harvey but also an exciting new chapter for digital art in the UK.

One of the most intriguing exhibitions in NYC right now is Allen-Golder Carpenter’s show, ”Same Things Make Us Laugh, Make Us Cry Pt. 2, Witness, Act 1: Black Noise” at Derosia (until November 1). Through a powerful video installation, Carpenter reimagines urban video game culture and the symbol of the PlayStation as a lens for memory, nostalgia, and the realities of Black life. His modified controllers turn Grand Theft Auto: San Andreas into a conceptual artwork, where movement and combat become allegories for freedom, constraint, and survival.

— Emann Odufu is an independent art and culture critic, filmmaker, and curator from Newark, New Jersey. His creative practice, spanning filmmaking and curatorial projects, explores Afrofuturism within Black cinema and beyond. His latest exhibition ”Places & Spaces” is at Friedrichs Pontone Gallery, 273 Church Street, in Tribeca, New York City, until September 28.