The eyes of the art world are back on northern Europe this weekend with Berlin playing host to Art on Tezos ahead of The Lumen Prize Awards Ceremony at the striking location of Kunstsilo museum, Kristiansand, Norway; while the focus returns next week to the cavernous splendour of the Grand Palais as Paris Photo comes to the French capital barely a fortnight after it bid farewell to Art Basel Paris.

This week, Right Click Save published an essay from The Liminal Review, an analysis of recent developments in art and technology written by Rachel Falconer and based on 2,000+ entries to this year’s Lumen Prize. To reflect the expanding and intersecting nature of the digital art ecosystem, the prize has introduced four new award categories this year—Fashion & Design, Literature & Poetry, Performance & Music, and Hybrid (Digital / Physical).

The art market goes in search of winter sun in the US next month with Art Basel Miami Beach announcing the launch of Zero 10, a substantial new section of the fair, curated by Eli Scheinman, that is dedicated to “art of the digital era”. Its title is a nod to Kazimir Malevich’s seminal avant-garde exhibition “0,10” held in Petrograd in 1915-16. For Noah Horowitz, CEO of Art Basel, “Zero 10 reflects a strategic conviction: digital art is no longer at the margins—it is integral to how art and the market are evolving in real time.” The fair promises, he said in a launch statement, to bridge “creative experimentation with sustained market development”.

— Danielle King, Head of Community at Right Click Save

Art Basel has launched Zero 10, a new section of the art fair giant’s offering, dedicated to “art of the digital era”. Its curator, Eli Scheinman, said that the initiative would be launched at Art Basel Miami Beach (December 3 to 7) and that it would be “not upstairs, not offsite” but covering 10,000 sq ft of floor space and central to the fair experience in the sprawling Miami convention center.

The 12 galleries taking part are @AOTMgallery (showing work by Dmitri Cherniak); @artblocks_io (Larva Labs); @AspreyStudio (Yatreda, Andrea Chiampo); @beeple (Beeple); @bitforms (Maya Man, Casey Reas, Manfred Mohr); @fellowshiptrust (IX Shells); @heft_gallery (Mpkoz); @nguyenwahed (Joe Pease, Kim Asendorf, XCOPY); @onkaos__ (Mario Klingemann); @PaceGallery (James Turrell); @solos_gallery (Tyler Hobbs); @visualizevalue (Jack Butcher).

Fellowship and ARTXCODE will be presenting “No Me Olvides”, a new solo exhibition by IX Shells (Itzel Yard) which links the histories of Nordic women artists to Yard’s own Afro-Caribbean and Latin American heritage. Beeple (Mike Winkelmann) tweeted on X that he was “insanely pumped for what we have in store for Art Basel.” Solos gallery will be presenting new works by Tyler Hobbs, with @leyla_solos posting that the gallery is proud to be positioning Hobbs’s work “within the wider contemporary art context, while recognising that what he’s doing is still ahead of where most of the field is willing to go”.

Sara Ludy’s new body of work, “Sessions”, is on objkt for Art on Tezos: Berlin, with physical editions available as digital archival prints from Office Impart, Berlin (November 6 to 9). “Using remote viewing and AI as a guide,” an exhibition statement on objkt reads, “each work translates invisible impressions into form—drawing as a map of consciousness, felt before it is known. In an interview published by Right Click Save in April 2025, Ludy said that her process is “largely guided by intuition and being present—letting things unfold rather than forcing them into form. I’m not drawn to technology for its mechanics; I’m interested in where it meets the unconscious.”

Fresh from attracting nearly one million visitors, including a rising star of the generative art scene, to his retrospective at Fondation Louis Vuitton, Paris, the great Polaroid-to-iPad-to-multimedia-art-projection experimenter David Hockney may have Vincent van Gogh at the back of his mind with two “Starry Nights” of his own. Hockney will have some of his best-known works recreated in the night sky of his home city in a production by Bradford 2025 UK City of Culture and the drone light show company SKYMAGIC. “Painting the Sky” is set to take place at 5.30pm on November 14 at Roberts Park, Saltaire.

Meanwhile Hockney’s series “The Moon Room”, 15 iPad paintings of the night sky created in 2020 outside his Normandy studio, form part of ”Some Very, Very, Very New Paintings Not Yet Shown in Paris”, a new exhibition at Annely Juda Fine Art in Hanover Square, London (from November 7). The paintings on show include another nod to Van Gogh in the shape of Vincent's Chair and Gauguin's Chair, 4 July 2025 as well as portraits of Hockney’s friends and family, still lifes, flower paintings, and a new self-portrait of the artist with his grand-nephew Richard Hockney.

During construction work on its new home in the Richard King Mellon Hall of Sciences, the ICA Pittsburgh—Carnegie Mellon University’s contemporary art institute—is reimagining its gallery experience in a virtual world. The Generative Museum (until February 13, 2026) is an experimental project—developed for desktop users by the ICA in collaboration with the international non-profit KADIST and the virtual exhibition space EPOCH.

The Generative Museum has two levels. In Unseen Forces 1.0 users may curate exhibitions using artificial intelligence (AI) prompts to curate works from KADIST’s collection; a second level allows them to explore installations by the artists Morehshin Allahyari, Holly Herndon & Mat Dryhurst, Joe Namy, and Ahmet Öğüt.

The Generative Museum environment, EPOCH says in a project statement, “is set in a speculative and sustainable future: roadways replaced by lush plant life, architecture seamlessly entwined with greenery, and above it all, a mysterious celestial orb hovering in the sky, radiating both wonder and unease”. They thus hope to “invite audiences to reflect on how AI might shape the ways we live, dream, and build together—embracing both the hopes it nurtures and the fears it inevitably stirs about our shared future”.

Last month, I saw one of my favourite pieces of contemporary classical music at the Barbican, London: Become Ocean (2013), by John Luther Adams (played by the BBC Symphony Orchestra, conducted by Dalia Stasevska, on October 8). It is beautiful; both incredibly simple and incredibly complex. He divides the orchestra into three sections and has them play in phases. The way that it is patterned, you get these three big swells; and it references physics, nature and order. I had never seen it live and it was really beautiful watching the orchestra and seeing on their faces that they could tell that a swell was coming up because they all started smiling at each other. I feel very lucky to have seen it live because it is not performed that often. I do not have a musical background, but I realize more and more that I am interested in patterns, and music is heavily patterned.

I really loved Auriea Harvey’s exhibition “PROPHECY”, at arebyte, London, curated by Pita Arreola (until December 21). It is really beautiful. The work that I liked most is a very tiny piece at the end of the hall. Most people miss it because it is inside part of the text. There is a tiny little peephole that, if you look through it, you see this moving image work.

I’m also reading a series of essays by Lavinia Greenwood, The Vast Extent: On Seeing and Not Seeing Further (2024), which is really interesting about a mishmash of philosophy, science, history, and personal experience. Every time I pick it up, I feel that I’m learning 50 new things.

— Anna Ridler is a London-based artist and researcher who works with systems of knowledge and how technologies are created in order to better understand the world. Her process often involves working with collections of information or data, particularly datasets, to create new and unusual narratives. Her work in collaboration with the artist Sofia Crespo is on exhibition in the group show “Infinite Images: The Art of Algorithms”, at Toledo Museum of Art (until November 30). On October 30, Ridler presented recent work at “Behind the Screen”, Arab Bank Switzerland’s fireside chat event in Geneva.