At the end of a week when auction prices bounced back to life in New York, with records broken for a work of modern art and a work by a woman artist (Frida Kahlo finally getting her due), the focus stays in the US, the biggest art market in the world, as artists and gallerists prepare for surf, sun, and sales at Art Basel Miami Beach.

Earlier in the week Right Click Save spoke to Robert Alice about the new affordable, small-format edition of his landmark catalogue raisonné On NFTs, published by Taschen, on the eve of a book signing at Heft Gallery in New York and a Sotheby’s sale where his BLOCK 1 (24.9472° N, 118.5979° E) from the series “Portraits of a Mind” set a new auction record for the artist. On the subject of NFT history, Art Blocks celebrates five years since the platform’s launch on November 27, appropriately enough on Thanksgiving Day. The last three projects in AB500 will be a return to “where it started”, the team announced on X, with “Explorations” by Jeff Davis, Daniel Calderon Arenas, and Erick “Snowfro” Calderon, AB’s Day 1 artists.

Plenty of thought leaders from the world of art and technology have been on show this week at Abu Dhabi Art for that fair’s first ever digital art section. While Art Blocks are among a squad of artists, platforms, and digital art galleries on show at Art Basel Miami Beach from December 3 headlining the “Zero 10” section of the fair, curated by Eli Scheinman, and in the established Meridians section for larger works and installations. On December 1, Michael Govan, Director of LACMA, leads the second iteration of the museum’s Digital Art Conversations in Miami, with a roster of high-profile artists, curators, and collectors.

Finally, I want to congratulate Alex Estorick, the founding Editor-in-Chief of Right Click Save, who has been honored by Monopol magazine as one of the Top 100 most important people in the art world for 2025. As Alex commented on X: “Having spent the last few years documenting artists of a different, natively digital art world at Right Click Save, it’s clear that these worlds are now closer than ever.”

— Danielle King, Head of Community at Right Click Save

“Blockchain Native”, a survey of artworks made in the last four years that use blockchain as a creative canvas has been the main exhibition at Outliers, the first digital art section to be held at the Abu Dhabi Art fair (until November 23). Outliers, which also features Half-Cheetah, an AI-infused solo show by the London-based artist James Bloom, is presented by reimagined, a UAE-based initiative supporting artists who explore technology as a creative medium. The artists featured in “Blockchain Native” are Bloom, Matt Kane, Leander Herzog, Sarah Friend, Kim Asendorf, Mathcastles, 0xmons and Loucas Braconnier. Outliers also put on a series of talks on technology and the arts featuring contributions from Bloom, Justin Gilanyi, Alfredo Cramerotti, Auronda Scalera, Ryan Koopmans, Giuseppe Moscatello, Stina Gustafsson, Pauline Foessel, and Basha.

Looking beyond the Thanksgiving Weekend holidays, galleries, institutions, and artists have been sharing more art and technology plans for Art Basel Miami Beach (December 3-7) in a follow-up to the announcement that the fair will host its first Zero 10 section, a substantial display of art in the digital age, curated by Eli Scheinman. In the Meridians section of the fair, for large-scale pieces, Fellowship are presenting the premiere of Kinder Scout, a piece by Holly Herndon and Mat Dryhurst that draws on the AI researcher Ken Stanley’s research into novelty search and the ethos of the right-to-roam movement, with the work’s name commemorating a celebrated mass trespass on Kinder Scout, in Derbyshire, in 1932. The artists are presenting, according to the gallery’s exhibition page, a protocol that “explores uncharted regions of a diffusion model’s latent space in pursuit of truly uncommon images.”

​LACMA’s Digital Leaders are holding the museum’s second annual Digital Art Conversations on December 1, hosted by LACMA’s Director, Michael Govan. Apply here to attend this private event and hear contributions from leading curators, artists and collectors in the field. On December 6, Jeni Fulton, head of Editorial, Art Basel, moderates a discussion, “Infinite scroll: Art, algorithms and images today” with the artists Maya Man, Kiya Tadele (creative director, Yatreda), and Jack Butcher.

Speaking on Verse Talks this week, Scheinman discussed Beeple—one of 18 artists showing in the Zero 10 section across 13 galleries—presenting robot dogs “which will also have cameras appended to them that will take real-time photographs and then excrete prints with [...] Jeff Bezos heads, Elon Musk heads, Andy Warhol, Picasso heads […] they will excrete prints live on site that [...] collectors can take away with them”. That, he said, is “precisely where we should be leaning in rather than being scared and trying to sanitize someone like Mike [Winkelmann] or sanitize what the digital art ecosystem is and pander to [...]the fair and the contemporary art world context. My view [...] is that the things that are esoteric, eccentric, weird, disruptive about the digital art ecosystem are precisely what make it interesting."

Onassis ONX, the Onassis Foundation’s platform for art and technology, is moving its New York headquarters from midtown Manhattan to Tribeca. The new 6,000 square-foot studio, at 390 Broadway, features production and exhibition spaces purpose-built for immersive art-making with advanced technologies, including a large motion-capture stage, a projection room able to show museum-scale institutions, and a server array specified to support AI and generative media. The first show in the new space, “TECHNE: Homecoming”, opening January 8, 2026, includes work by six artists exploring biological, mythological, and digital kinships: Andrew Thomas Huang, Miriam Simun, Sister Sylvester, Tamiko Thiel, Damara Inglês, and Natalia Manta.

“390 Broadway is the perfect new home for Onassis ONX,” Karen Brooks Hopkins, Senior Advisor and Board Member, Onassis Foundation, said in a launch announcement. “Artists will have a state-of-the-art space to realize their most ambitious and creative projects with support from our talented team of managers and curators located in both New York and Athens.”

The shortlist has been announced for the first Annwn Prize to celebrate excellence in immersive storytelling. The new international award, for the best story-driven work made through the use of creative technology, has been set up by Wales Millennium Centre, in Cardiff, and produced by Crossover Labs. The winning artist or studio, to be announced in June 2026, will be awarded £20,000 along with a bespoke residency to support the development of new work. The shortlisted works are: Novaya, France, Colored / Noire; Karen Palmer, UK, Consensus Gentium; Sister Sylvester, UK/Greece, Constantinopoliad; and Andrew Schneider, US, NOWISWHENWEARE (the stars).

I loved “Wayne McGregor: Infinite Bodies”, the tech-savvy choreographer’s AI and light-art-infused retrospective at Somerset House, London. In one of the show’s many performance-focused installations, curators are on hand to encourage even the most inhibited visitor to dance with Atlas (2019) and be rewarded by having their moves played back to them through the prism of an elegance-enhancing AI model of performances from McGregor’s three-decade career.

Perhaps the most immersive piece is reserved for an offsite installation at Stone Nest in Shaftesbury Avenue, a former chapel and the scene of Holly Herndon and Mat Dryhurst’s epic offsite communal singing experience to mark the close of their exhibition “The Call” at Serpentine earlier this year. On The Other Earth is a 57-minute virtual experience, where groups of up to 20 visitors at a time, standing and wearing 3D glasses, feel within touching distance of the digitally captured Company Wayne McGregor dancers that surround them.

For those who were experimenting with VR art pieces in 2014 or 2015, the ambition of On The Other Earth—taken together with the user-friendly narrative elegance of Stories Brought to Life, mounted by Frameless and the National Portrait Gallery London at Salford Quays, Manchester, this summer—is a demonstration of how far communal VR experiences have come in the past decade.

Another immersive experience that feels lovable in prospect is the science and algorithm-focused German conceptual artist Olaf Nicolai bringing his ice installation Eisfeld II to the first floor of the Palazzo Diedo, Venice. The audio-enhanced ice-rink piece, opening on December 13, is the latest in many imaginative moments in the thoughtful restoration and reimagination of the 18th-century palace by the curator Mario Codognato and the architect Silvio Fassi, for the Berggruen Art & Culture foundation. Ice-skating or otherwise, this handsome palazzo, whose fabric serves as a vivid palimpsest of pre-modern and modern Venetian history, contains a remarkable collection of contemporary art. It makes for a warm recommendation for anyone attending the 2026 Venice Biennale.

At the ceremonies to award the Lumen Prize for art and technology on November 8 at the industrial-chic Kunstsilo museum in Kristiansand, Norway, the talk of the conference sessions was Lux, the latest album from the Catalan singing sensation Rosalía. The new range of musical media contained in Lux—where Rosalía works on devotional texts with a full orchestra in 13 languages—has a hybrid ambition worthy of the most thoughtful speculative practices honoured by Lumen. Rosalía, who knocked Taylor Swift off the top of the streaming charts with Lux, was a guest recently on the writer and designer Bella Freud’s verbally acute and nicely therapeutic podcast “Fashion Neurosis”. One of many lovable moments was the live-wire singer’s reassuringly “Hygge” revelation that her most creative moments come at the time of nearly falling asleep.

— Louis Jebb is Managing Editor at Right Click Save.