The abrupt cancellation this week of NFT Paris hit hard, not just for the logistical chaos it created, but for what it says about the fragility of our meeting places.

In-person events matter more than we sometimes admit — they’re where deep conversations happen, where collaborations begin, and where people build real relationships that Discord just can’t replicate. If the initial editions of NFT Paris positioned the city at the center of a global conversation, digital art remains a multipolar world, with events such as Art on Tezos Berlin and NFC Summit in Lisbon reminding us that physical space remains crucial for a community founded on peer-to-peer protocols.

Meanwhile, there are new foundations being laid: NODE and CANYON will both open physical locations in 2026 (in Palo Alto and New York, respectively), suggesting that even as some projects wind down, others are stepping up.

— Danielle King, Head of Community at Right Click Save

Right Click Save readers may recall that the magazine started life as the editorial arm of ClubNFT, a startup dedicated to supporting the new generation of digital art collectors. At a time when others were building marketplaces during the NFT boom of 2021, the company’s co-founders Jason Bailey and Chris King set out to preserve the assets themselves through a suite of protection tools that became a last line of defense against the NFT apocalypse.

As the magazine reported in September 2025, “To this day, ClubNFT has backed up more than a million NFTs, now safely stored on the computers of the world’s leading collectors. However, following the sad but ultimately necessary decision to shut down the company’s backup service earlier this year, a new steward was sought for Right Click Save,” with the magazine being acquired by a new owner, the collector, angel investor, and former technology entrepreneur Tony Lyu.

I was deeply impressed by the Gerhard Richter exhibition at the Fondation Louis Vuitton, Paris (until March 2, 2026). Experiencing a retrospective that spans an artist’s career from the late 1950s to today, retracing nearly 70 years of artistic practice, was a powerful experience, making a nice contrast to my daily focus, working with the Paris-based generative artist William Mapan, where the two of us are deeply immersed in the Web3 and digital art space.

I realized how little I actually knew about Richter’s work and career, which turned out to be a gift. I was mostly familiar with his “Abstrakte Bilder” series, emblematic of the latter part of his practice, and discovering his early figurative period, from the 1950s and 1960s, was a revelation. The exhibition’s chronological structure made the experience more captivating: witnessing how he mastered reflections and fine details, then gradually moved toward blur, and eventually embraced full abstraction, revealed a career of remarkable control, patience, and steady refinement.

The show also prompted me to reflect on how short the recent Web3/crypto art era (or whatever we choose to call it) really is, and how shortcuts are not always beneficial. It puts into perspective the idea that a meaningful, sustainable artistic career requires the time to master a subject, to iterate, to experiment, and to fail.

— Hugo Pouchard is a Paris-based art curator and facilitator with over a decade of experience at the intersection of art, technology, and culture. He previously worked with the auction house Christie’s, helping it to navigate the evolving digital landscape, and expanded the European presence of the online art marketplace Artsy, developing partnerships with galleries, art fairs, and brands to grow engagement and market impact.