As a publication dedicated to making sense of emerging technologies and how they stand to impact society—a task often best executed by artists—Right Click Save has always valued the work of scholars who confront the risk of perpetual colonialism.

Recently, Mass MoCA, in North Adams, Massachusetts, opened an exhibition that directly confronts “the colonialist logic, racism, and violence embedded in and produced by corporate-developed technologies and datasets.” Featuring artists working across media including Lauren Lee McCarthy, Mashinka Firunts Hakopian, and Roopa Vasudevan, the show offers visions of what a technological future could look like if it were built on principles of inclusion and liberation rather than extraction and control.

This week, we published a conversation between Kalie Granier, Edward A. Shanken, and Louise Ramirez of the Esselen Nation, on Indigenous Wisdom and Technoshamanism, exploring how artists are using digital tools to support land reclamation and language revitalization. Language itself is a technology, one that preserves knowledge systems, world views, and histories that colonialism has actively worked to erase. Their conversation reiterates the importance of asking who gets to shape technology, whose knowledge systems are valued, and what it would mean to build digital tools rooted in care, reciprocity, and relationship rather than surveillance, profit, and domination.

— Danielle King, Head of Community at Right Click Save

The Whitney Biennial 2026 opens to public viewing at the Whitney Museum of American Art on Sunday March 8, 2026. The exhibition, on show until August 2026, features the work of some 15 artists working with technology and at the border of the digital and physical, including Samia Halaby, Joshua Citarella, Ruanne Abou-Rahme; Ash Arder; Zach Blas; Leo Castañeda; Taina H. Cruz; Ignacio Gatica; Cooper Jacoby; Michelle Lopez; Isabelle Frances McGuire; Gabriela Ruiz; Jordan Strafer; and Sung Tieu.

As part of the biennial, the Los Angeles-based artist Kelly Akashi presents the Hyundai Terrace Commission on the Museum’s fifth-floor outdoor gallery. The project brings together a new sculptural installation and an outdoor-screen animation in response to the Los Angeles wildfires of January 2025. Monument (Altadena) (2026) is a reconstruction of the chimney piece from the artist’s home, the only element to survive the Eaton Fire. On the outdoor screen, the artist’s Remnants (Constellations) (2026) extends Akashi’s investigation of trace, memory, and aftermath into moving image.

The biennial also saw the Whitney launch Leo Castañeda’s digital art project Camoflux Recall Grotto, available on artport, the Museum’s online gallery space for Internet art. Camoflux Recall Grotto invites players to take part in a web-based game in which they cultivate a garden within a surreal, primordial landscape.