That question is all over the timeline again. RGBMTL’s fifth edition opens in Montreal today, followed by NFT.NYC (September 1-3, 2026), and a buzz has been building around both in a way the digital art space has not felt in a while. The rest of the September fairs and festivals calendar is a full one for the expanded art world, with Frieze Seoul and Kiaf (September 2-5) being followed by Berlin Art Week (September 9-13), the Creative Intelligence festival in London (September 11-13), and the Armory Show at the Javits Center, New York City (September 24 to 27).

Meanwhile, the artist a.c.k.’s new 10,000-piece PFP series, Argonauts, sold out almost immediately, the kind of decisive sale result that we have not witnessed much these past couple of years. For an NFT market that has spent a long stretch being told it is over, or at least resting, it is a fair moment to ask if we are “back”. Even if the honest answer is probably: ask us again in a few weeks.

The art world has this week been honoring the impact of the seven-decade creative journey of the artist Yayoi Kusama, from experiments with Minimalism, Pop Art, and happenings in hippy-era Manhattan, to global engagement with her Infinity Mirror Rooms (and ever bigger polka-dotted pumpkins). Her experiments with the optics of infinity taught generations of artists what it means to make an environment instead of an object; and created a whole new backdrop for art institutions to engage with the digitally native Instagram generation. She was moved at times to describe the attention economy’s embrace as Kusamania. Her person, like her art, was as inimitable as it is irreplaceable.

— Danielle King, Head of Community at Right Click Save

Right Click Save’s Forum section is a discussion board for the digital art community. It has attracted posts and comments on a broad range of topics, not least on AI, its creative power and potential, as well as its perils.

Community members have been posting thoughtful responses to the artist Pierre Gervois’s Forum question: “Five years after 2021: Where is digital art heading to?” And his concluding thought: “that public art will be the best use case for digital art going forward”. One response, from the artist Jan Robert Leegte, is a reminder that one aspect of digital art has long been in the public realm: “Internet art IS public art … The most beautiful aspect of net art is that you can either own it or not, but it is out there for all to see.”

You can follow the discussion at this thread.

The Right Click Save Index is a knowledge bank drawn from across the magazine’s editorial coverage. It shows how people, artworks, events, organizations, and ideas connect in our archive of more than 440 articles.

Rather than a comprehensive biography or dictionary definition, each page surfaces the salient elements from our ecosystem. Readers can access the Index from the navigation bar of the website, through the Search window, and from in-article “cards” that link to Index entries, or direct to articles in the Magazine archive.

The news this week that Yayoi Kusama had died was a reminder of the cultural reach of her Infinity Mirror Rooms, a phenomenon that was born of the selfie society of the 2010s. That society is captured in a work such as Operator’s On View (2019). commissioned by SCAD Museum of Art, in Savannah, Georgia, and described by the museum as examining “how art experiences generate in today’s audiences the wish for themselves to be its subject”.

The Index was the source this week for the connection between On View and Kusama’s Infinity Mirror Rooms; and how that link was explained by Dejha Ti and Ania Catherine of Operator in an interview published by Right Click Save in 2023.