This week served up a dispiriting reminder that old habits die hard, even in spaces that were supposed to be different.

A widely circulated list of influential works of digital art featured predominately male artists. A group exhibition was announced with no female artists. And while individual instances might be dismissed as oversights, a pattern is becoming impossible to ignore: that the supposed democratization and inclusivity promised by blockchain technology is now giving way to the same exclusionary dynamics that have plagued the art world for centuries.

This is particularly frustrating because female artists haven’t merely participated in digital art history—they’ve helped to define it. From Vera Molnar’s groundbreaking works of generative art to Samia Halaby’s explorations of the personal computer to Carla Gannis’s investigations of posthuman identity, the canons of digital art are rich with voices that are still being shamefully overlooked.

This is precisely why initiatives such as FEMGEN that ensure visibility for women and non-binary artists continue to matter. It’s not only about representation: it’s about safeguarding a future currently under threat from the same structural unfairness and ignorance as the past.

— Danielle King, Head of Community at Right Click Save

Details have been published of galleries and artists taking part at Art Basel Hong Kong in the Zero 10 section dedicated to art of the digital age, form March 25 to 29, 2026. This is the second iteration of Zero 10, curated by Eli Scheinman, after its debut at Art Basel Miami Beach in December 2025. The section will occupy 12,000 sq feet in the conference center home to the fair, Scheinman posted on X, showing a mix of “robotics, painting, sculpture, generative, ai-based and interactive works”.

Zero 10 at Art Basel Hong Kong will include works presented by Nguyen Wahed (Kim Asendorf); SILK Art House (Jack Butcher); Fellowship Trust and ARTXCODE (Sougwen Chung); Onkaos (Robert Alice); AOTM Gallery (DeeKay); Plan X Gallery (Claire Silver and ThankYouX); BottoDAO (Botto); bitforms (Quayola, Daniel Canogar); Asprey Studio (Seneca, Tim Yip, Qu Leilei); TAEX (Kevin Abosch); Art Blocks (Harvey Rayner); Solos Gallery (Petra Cortright, Laurie Simmons); Office Impart (Jonas Lund); and Root K Contemporary (Emi Kusano).

​LACMA’s Digital Leaders are to host the next Conversations on Digital Art during Frieze LA. On the morning of February 25, 2026, they are hosting a private event focused on the evolving landscape of digital art conservation, preservation, and display.

The speakers include Mark Ayala, Manager of Gallery Media, LACMA; Daniel Cánogar, Artist; Michael Connor, Executive Director, Rhizome; Jim Fetterley, Technology Manager, Dataland; Technical Director, Hammer Museum; Michael Govan, CEO and Wallis Annenberg Director, LACMA; Joey Heinen, Digital Preservation Manager, LACMA; Lauren Lee McCarthy, Artist; Linda Tadic, Founder and CEO, Digital Bedrock.

Right Click Save are media partners for the event, and we have some tickets to share with our newsletter subscribers. Please contact us on [email protected] if you will be in LA and are interested in attending.

There are four quotations I’ve kept tucked in my brain for well over 20 years that consistently resurface when I’m asked about my practice. They encapsulate a stance of depth, skepticism, and refusal that I attempt to embody in all of my work.

Behind the story I tell is the one I don’t. Behind every story you hear is the one I wish I could make you hear. Behind my carefully buttoned collar is my nakedness, the struggle to find clean clothes, food, meaning and money. Behind sex is rage, behind anger is love, behind this moment is silence, years of silence.

― Dorothy Allison, Two or Three Things I Know For Sure (1995)

I learned that just beneath the surface there’s another world, and still different worlds as you dig deeper. I knew it as a kid, but I couldn’t find the proof. It was just a kind of feeling. There is goodness in blue skies and flowers, but another force—a wild pain and decay—also accompanies everything.

— The film director and artist David Lynch

Her father, long ago, in Arizona, had cautioned her against jacking in. You don’t need it, he’d said. And she hadn’t, because she’d dreamed cyberspace, as though the neon gridlines of the matrix waited for her behind her eyelids.

— William Gibson, Mona Lisa Overdrive (1988)

Take an object / Do Something to it / Do Something else to it. [Repeat]

— The artist Jasper Johns, 1964.

Quite literally, this is my mantra.

— Carla Gannis is an artist working with an array of media, known for using humor as a tool for exploring complex issues. Her work has been exhibited globally in exhibitions, screenings, and internet projects. She also teaches “healing-edge” technology as an Industry Professor at New York University’s Tandon School of Engineering in the Department of Technology, Culture, and Society.