“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,” Noah Horowitz, CEO of Art Basel, said in a launch statement. The fair group plans to extend Zero 10 to Art Basel Hong Kong, and beyond, in 2026.
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The art and technology conversation continues at Design Miami, and on stage and in gallery booths at the smaller but well-established fairs that have for two decades brought diversity and grassroots programming of media art to Miami Art Week.
“Looking at Models”, curated by Charlotte Kent, is the featured offering in the MUD Foundation’s Art Week 2025 program “Media Under Dystopia 6.0”. It includes citywide events, talks, and live coding and an artist panel discussion with Man, Carla Gannis, Fabiola Larios, and Gretchen Andrew.
Scheinman said that he wants the new section to deliver “a memorable and meaningful experience” for galleries, artists, collectors from the digital art ecosystem, but also for “new collectors and attendees who come into the space and have maybe preconceived notions of digital art”.
The New York-based artist and coder Dmitri Cherniak presents a new series, Polygon Etcetera (2025), and two outputs from his Ringers series.
The Floor Ringer, a “human-sized” sculpture in stainless steel, stands at the heart of the Art of This Millennium (AOTM) stand. It represents the first time the Ringers collection has taken three-dimensional form since its launch on Art Blocks in January 2021. “We are going to Zero”, the artist writes in a playful post on X, accompanied by an animation of the 700lb (317kg) sculpture descending through a crumbling gallery floor. Ringers (Algorithmic Interpolation) is a preview of a work being developed for display at Tel Aviv Museum of Art in 2026, analysing the visual development of the Ringers algorithm.
Polygon Etcetera is a release from a process where the artist has been working with cubed grids collapsed into two dimensions. The output will be represented by prints from a series of 20 unique blockchain-based assets.
“I’ve looked over the whole fair and Zero 10 punches way above its weight,” Cherniak posted on X.
Larva Labs, the creative technology studio founded by Matt Hall and John Watkinson, launched Quine — their first major project since 2021 — as the final release on Art Blocks Curated, the platform’s foundational series.
At the time of the minting, on October 9-10, Hall and Watkinson reserved 20 Quines, 10 of which will be shown at Zero 10 as signed, framed works, and available for sale. All 497 works in the series will be displayed on the Larva Labs stand, in miniature form on a large vitrine table.
Hall said onThe DAM Show that presenting on this “gigantic” table, offers something unique to a physical space. “It’s hard to get across the full set of something on the screen”. It is, he said, “a pretty unique experience to see the full output of the algorithm”. It is something designed, he added, “to bridge the gap a little bit to people who might just be walking by and are not quite sure what’s going on”.
Art Blocks is presenting at Art Basel for the first time. “We applaud Art Basel’s commitment to digital art,” the platform said in a post on X.
The London-based Asprey Studio is hosting digital and physical presentations of new works by the Italian artist Andrea Chiampo and Yatreda, a family-based collective of artists from Ethiopia.
Andrea Chiampo is showing Futured Past, with his 3D sculpture rendered by the silversmiths of Asprey.
“Showing at Zero 10 is important to me because my work lives at the intersection of tradition and emerging technology,” Chiampo tells Right Click Save. “Futured Past is built on the idea that digital craft deserves the same cultural weight as classical techniques, and Zero 10 embodies that shift.”
“Seeing Zero 10 receive this kind of presence at Art Basel Miami Beach matters because it marks a turning point: digital and on-chain art are finally being presented not as peripheral experiments, but as central voices shaping contemporary culture.” (Andrea Chiampo)
Yatreda is presenting Twenty-First Century Akomada, a digital rendering of the traditional male crown that was, worn by chieftains and warriors in the Ethiopian highlands as a mark of nobility, alongside a physical rendering, in silver, by Asprey Studio.
“Our digital art culture has been built by eccentric yet extremely dedicated people,” Yatreda tells Right Click Save. “Rather than try to change who we are, Zero 10 at Art Basel Miami Beach gives a fresh stage to the unique art born from this community. Audiences can meet the work where it truly lives. We as Yatreda, alongside our friends at Asprey Studio, are proud to be among this first wave at Zero 10, standing with the future we have committed ourselves to.”
Beeple’s Regular Animals — autonomous robot dogs, with the heads of Andy Warhol, Mark Zuckerberg, Elon Musk, Pablo Picasso, and Beeple that move autonomously and use LIDAR technology to avoid bumping into each other — will be corralled in a glass-walled pen that constitutes the Beeple Studios booth. These Regular Animals will “poop out” a total of 1024 free prints; one in four of which carries a QR code that allows the owner to claim one of 256 free NFTs.
“Showing at a platform like Zero 10 during Art Basel Miami Beach is important because it brings the conversations happening within the digital art space into a much broader cultural arena,” Beeple tells Right Click Save. “Artists working with emerging technologies are addressing ideas that increasingly shape daily life, including identity, data, automation, and the accelerating pace of change.”
“These themes deserve greater visibility precisely because technology’s impact on society has never been more profound,” Beeple says.
“Giving Zero 10 a prominent presence at a fair as significant as Art Basel helps ensure these discussions are not confined to niche communities but are engaged with, challenged, and understood by a wider public.” (Beeple)
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In the lead-up to the celebration of its 25th anniversary in 2026, bitforms gallery, New York, is bringing together three generations of artists at Zero 10 whose practices, it says in an exhibition statement, “chart the trajectory and ongoing vitality of generative art”: Manfred Mohr, a pioneer of algorithmic art; Casey Reas, who saw Mohr as an inspiration when he embarked on his career; and Maya Man, who studied with Reas at UCLA for her Masters in Fine Art.
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Manfred Mohr will be showing a series of works created from his P-700 algorithm, referenced by the artist as the space.color.motion program.
“I am excited to be included in Zero 10 at Art Basel Miami Beach 2025 and happy that we were wisely given a central and prominent space for generative works,” Manfred Mohr tells Right Click Save. “For my presentation, it was a wonderful challenge to transcribe programs I wrote almost 30 years ago so that they can run on the LAYER screen, a wonderful and visually beautiful new technology.”
“My code P777 space.color generates non-repeating animations based on a subset of lines and colors from a rotating 6-dimensional hypercube. Together with my colleagues, we present an artistic highlight in digital development which emphasizes the importance of algorithmic thinking.” (Manfred Mohr)
Casey Reas will be showing two sets of work. His own video-based Earthly Delights (2025), generated from scans of summer vegetation collected at Burnt Mountain in Colorado, and works made with Erika Weitz in the Technical Image series, where the two artists use the 19th-century wet plate collodion process, an early photographic technique, to fix GAN-generated botanical images.
“Zero 10 joins a conversation that museums like the Whitney and LACMA have been hosting for a while. It’s good to see Art Basel Miami Beach step into these ongoing dialogues with clarity,” Casey Reas tells Right Click Save.
“My Earthly Delights works and Technical Image collaborations with Erika Weitz, shown through the bitforms gallery, feel at home here — projects rooted in systems and observation, open to interpretation and in dialogue with both historical and contemporary artistic practice.
Zero 10 treats digital art as an integral part of the landscape, which is refreshing. It acknowledges where artists already are.” (Casey Reas)
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Maya Man’s (The Angels Wanna Wear My) Red Shoes, based on Hans Christian Andersen’s cautionary fairy tale The Red Shoes. will be presented as small prints on aluminum dibond. Each print freezes a moment from Man’s algorithm — which scrapes user-generated posts from Depop, the online vintage clothes marketplace— and turns them into compositions. They capture, according to a gallery catalogue entry, “the chaotic interplay of automated desire, digital aesthetics, and secondhand consumer culture”.
“It’s very special to show software-based work about online culture here,” Maya Man tells Right Click Save, “because people will encounter the work who may not consider themselves yet interested in art on the internet.”
“Digital art offers the most contemporary possible window into the way that culture operates today. It’s time for that to be recognized by people who have the power to determine what becomes classified and historicized as ‘Art’. Historically, digital art has often been relegated to the basement or sidelines, positioning it as something other than ‘Art’.
"If contemporary art is meant to reflect contemporary life, Zero 10 acknowledges the reality of our world that’s now inextricably intertwined with the internet." (Maya Man)
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Itzel Yard’s interactive piece No Me Olvides explores links between the histories of Nordic women artists to her own Afro-Caribbean and Latin American heritage, using generative systems of light and sound.
“Showing at Zero 10 matters to me because it gives this interactive piece a shared space with the people who experience it,” Yard tells Right Click Save. “I’m from Panama, where digital art barely has a scene, so much of my practice has lived online. I’m grateful for that, but here something shifts. The work isn’t just a link on a screen, it reacts to bodies in the room and holds attention differently.
Having Zero 10 positioned so prominently at Art Basel Miami Beach signals that code-driven work belongs in this context, carrying the histories and voices behind it into a larger conversation. (IX Shells)
Heft Gallery of New York is presenting five unique editions from mpkoz’s new series Tesselations (2025); a sculptural series of three wall-hung reliefs and two free-standing monolith-like sculptures. They are output from digital models as hyper-detailed 3D-printed resin casts, plated with metal.
Mpkoz describes the series on The DAM Show as a fusion of two different aesthetics. “One is the algorithmic and pattern-based, rule-based, artwork of the Middle Ages [...] Persian rugs, mosaic, architectural features in holy buildings, mosques and cathedrals and public places. [The other is] the aesthetics of GPU, CPU architectures. There's a lot of visual crossover there [but] the more thematic reason is [that] we revere a lot of the architectures that drive our lives nowadays [...] reated from this circuitry.
"There's this whole hidden world that is driving our beliefs and our actions, much like it was in the Middle Ages, but nowadays it comes in the form of electrical engineering." (mpkoz)
On the Nguen Wahed stand, the collective theme is of artists working with the blockchain as a medium. Kim Asendorf presents Raster und Spectrum, an onchain abstract real-time animation that can play on any device; Joe Pease’s zero dollar man depends on triggers from a smart contract; while XCOPY’s Coin Laundry uses fungible tokens inscribed in code.
Asendorf, speaking on The DAM Show, referred to Raster und Spektrum as a conceptual work around algorithmic rules, and his artistic quest for automation rather than generating data or generative art, to “find automations that somehow surprise me and also can express the complexity of everything around us; all these black boxes that we are facing everywhere”.
In Raster und Spectrum, one brush is a raster, or grid, with white lines on black. The other is a spectrum, the artist said, “that is constantly changing or iterating through the color hue, and therefore always painting with a different color”. The brushes cross the screen (itself divided roughly into quarters) in one of eight directions — up, down, left, right, and the four diagonals — and return once they meet an edge.
Asendorf characterises the piece as “very formal, a very simple, minimalistic concept … always ongoing and a little meditative”. With the speed of the brushes’ movement finetuned over weeks of testing.
The Munich-base Mario Klingemann is showing one of his favourite works, Appropriate Response, an installation made up of a split flap display, such as used to be common at airports and train stations, and a kneeler where a visitor’s weight on the kneepad acts like a large button to generate a unique quote or epigram of up to 125 characters on the display. Klingemann trained a GPT-2 model on famous quotations in order to study how much meaning could be extracted from a limited number of letters.
For Zero 10, Klingemann added a new feature. When a user “kneels down and their quote is produced,” he told The DAM Show, “this will then be minted onchain as an NFT and people will be able to buy that if they want to.”
“The way that humans figured out how to create an extremely condensed form of meaning into just five or eight words, I find that very fascinating,” Klingemann said.
Pace is showing two radiant, etched-glass, installations by James Turrell, a foundational figure in the Light and Space movement, from his Glassworks series, each with 2 hours and 30 minutes run times. Both are connected with Turrell’s research into the materiality of light and the limits of human perception.
Turrell has been an inspiration to many Web3 artists, bringing a particular creative strand and generational heft to Zero 10. In 2022, Lawrence Lek talked to Right Click Save about the fascination of Turrell’s career trajectory, “which takes art out of the literal, out of the material, into the perceptual — into light and subjective experience. Fast forward 30 years, he’s creating physical, Land Art-scale architectural manifestations. [...] Part of that narrative of 1960s and ’70s California Land Art is that, instead of being trapped in the apartment, ‘Let’s drive out into the desert and see what we find. Let’s look at the horizon instead of the skyscraper.’ And I often ask myself, ‘What is the equivalent of that for digital native artists like us today? What is the equivalent of the permanent installation?’ Maybe the blockchain can achieve this.”
Pace — which has recently exhibited another Zero 10 artist, Tyler Hobbs — has this week shown its openness to developing its business model with the launch of Pace Di Donna Schrader Galleries (PDS), a collaboration with two other heavyweight art dealers, Emmanuel Di Donna and David Schrader, which will focus on the secondary market.
The presence at Zero 10 of a blue-chip international contemporary art gallery like Pace is significant for the fair’s organisers. “It was great to see Pace coming to the table with the Turrell project in Miami,” Noah Horowitz, CEO of Art Basel, said on The DAM Show.
“I think there are countless other examples of artists that have been seen in one light in the more conventional art world that can learn and will be interested in growing and enriching their own platforms through what [the digital art] community brings to the table.” (Noah Horowitz, CEO, Art Basel)
Tyler Hobbs presents his new series From Noise, a set of 12 NFTs from one algorithm which will be represented by four large-format prints on wood, varnished by the artist. The print will be accompanied by boxed sets of six screen prints of Translated Gestures (2025), derived from single “gesture” details taken from the From Noise outputs.
“I think it’s an incredibly exciting opportunity,” Hobbs says of Zero 10 to Right Click Save. “For so long, digital art has been put in the corner or held at a distance as a lesser art form or a bit of a curiosity. And I don’t think that it’s been given the same level of consideration that more traditional media have been given. And so, first and foremost, I think this is a wonderful opportunity to have some of the best digital artists of today shown on the same footing as all the blue-chip artists that we know and love and all the other contemporary artists working in more traditional media. That’s the thing I think I’m most excited about.”
“I know that the digital artists in this cohort are going to bring their best. This is a great opportunity to show people what digital art looks like in 2025. And I think many of the fairgoers don’t know what that looks like or they will find out what that looks like at the fair.”
"This art form, these artistic practices, are more important and more relevant than ever. And I truly believe that digital art and art involving computers is extremely important for our time." (Tyler Hobbs)
Lu Yang’s video work ,rendered through motion-capture choreography and 3D animation, is on loan from and presented at Zero 10 in collaboration with UBS, Art Basel’s Global Lead Partner.
The piece, according to the UBS Art Collection is “a hallucinatory, single-channel video in which the multimedia artist’s avatar moves through a blissful, celestial realm, its motion-captured choreography drawing on Balinese and Indonesian dance styles”. The artist is reincarnated as an avatar “Dokusho Dokushi” (DOKU) in a “digital parallel universe built to unleash the creative potential of virtual technology”.
Jack Butcher invites online participants as well as fair visitors to take part in Self Checkout, a piece inviting varied contributions to the production costs of the new work: four kiosks and an on-wall counter — a live, split-flap, display, counting back from the $74,211 deficit — which online participants can watch remotely.
“Pay what you want at Art Basel,” Butcher announces on the Self Checkout whitepaper. “Your receipt is the artwork. Payment amount equals receipt length. A live display tracks whether the artist recoups $74,211 in production costs or takes a public loss.”
The idea, Butcher explains on the DAM Show, “came from this now ancient critique of NFTs, which was ‘An NFT is just a receipt’ and massively leans into that idea by using the receipt itself as the artwork and the idea that the cumulative cost to build this experience is this live P & L [profit and loss to the artist] that is reduced by participation of people purchasing these artworks."
On the stand, visitors are set to find three kiosks to handle in-person transactions by card “while a transparent Online Orders kiosk prints remote purchases in real time”. Printers map the number of dollars given to receipt length and also “stamp a seed phrase that unlocks a non-transferable NFT. Remote buyers pay shipping and receive their receipt in the mail.”
“Over the course of the fair,” Butcher said, “we'll be able to see exactly how many people participate remotely via this massive ribbon receipt that's hopefully accruing in this transparent box at the end.”
Louis Jebb is Managing Editor at Right Click Save
