Riot in the forum
This week, three well-intentioned posts sparked much debate about the line between hype and valuable critique.
Priyanka Desai argued that the Beeple trading cards prove the Web3 space works best when it “stays native”: accessible, transparent, and community-first. Alejandro Cartagena countered that visibility and attention are not decentralized; NFTs reproduced traditional hierarchies almost immediately and perhaps more aggressively because of the public nature by which everything was quantified. Joana Kawahara Lino’s blog post went further, arguing that the space conflates “cultural energy” with “cultural substance”, mistaking secondary-market momentum for artistic significance.
Responses were swift and varied in both substance and tone, revealing different priorities. Some defended the value of institutional language a.k.a “artspeak”, while others viewed it as hype in imperial clothing. According to Carl Gombrich, who was interviewed this week by María Angélica Madero: “The primary problem with teaching visual literacy as an equal partner alongside numeracy and literacy […] is that there isn’t a clear, universally agreed syntax or semantics.”
Right Click Save has always viewed its role as a (curated) forum where the most interesting insights often emerge not from the initial text but from the collision of perspectives that follows. At a time when digital art is finally getting the institutional recognition it deserves, DIY critique can help to confront the resurgence of artspeak. Long may it continue.
— Danielle King, Head of Community at Right Click Save
Features
Stephanie Dinkins, If We Don’t, Who Will?, 2025. Photography by Avery J. Savage. Courtesy of More Art
Kazuhiro Tanimoto, (Still from) Rain Blooms #122, 2026. Courtesy of the artist
Trending
Happening
Holly Herndon and Refik Anadol join conversation with Samira Ahmed at Stephen A. Schwarzman Centre, Oxford University, on “AI, Creativity and Ethics”
The broadcaster Samira Ahmed (left) moderated a conversation on “AI, Creativity and Ethics” at the Stephen A. Schwarzman Centre for the Humanities, Oxford University, on May 28, 2026, with (from second left), the artist Holly Herndon; Professor Raphaël Millière, of the Institute for Ethics in AI, Oxford University; Dr Kathryn Eccles, of the Oxford Internet Institute; and the artist Refik Anadol. Anadol is the first recipient of the Lau Fellowship in Creativity and AI at the Schwarzman Centre. Photography by Right Click Save
dmstfctn, The Models, 2025. The work is included in “404_LAND”, curated by Auronda Scalera and Alfredo Cramerotti that also features works by Gabriel Massan, Varvara & Mar, Hind Al Saad (with Martin Juras and Levi Hammett), Kat Zhang the Poet Engineer, and Alida Sun. Courtesy of the artists
Installation view, Jonas Lund, “Performance Review” at OFFICE IMPART, 2026. Courtesy of OFFICE IMPART
Maja Petrić, Arctic Poppies with Robotic System, 2026. Petrić’s presentation at SXSW London coincides with an exhibition of the artist’s work, “The Glitched Sublime”, at HOFA Gallery, London, June 3-11, 2026. Courtesy of the Artist
Chapter 2 of “Automata Anima (Soul of the Machine)” opens at ArtVerse, Paris, on June 2, 2026. Sign up for Codes Morphos, a performance by Celine Shen
Céline Shen and Pepper the robot. Courtesy of ArtVerse, Paris
RETRO
Harold Cohen, Untitled (i23-3547), 1971. Silkscreen on paper. Courtesy of Gazelli Art House & Harold Cohen Trust
Reading
Pascal Greco | Photography, Video Game, Landscape (IDPURE éditions & Chambre Noire, Switzerland, 2025)
