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The online magazine for critical conversation about the expanding art world.

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This page reflects how this organization appears across Right Click Save's coverage. The details shown here come from our writing, not a complete profile. About the Index →

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Profile (past & present)

Founders
Alex Estorick, Jason Bailey
Leaders
Alex Estorick, Tony Lyu, Jason Bailey, Daniel Murphy, Louis Jebb

Connections

Members
Alex Estorick, Louis Jebb, Danielle King, Ann Marie Alanes, Jason Bailey, Katherine Howatson-Tout
Works
ART & TECH
Hosted events
FEMGEN, Right Click Live, Snowfro's Squiggles: The Auction, Lumen Prize NFT Award

Some roles and affiliations may be former.

Works · 1

ART & TECH

Coverage · 243 articles

Featured

  • 2026Right Click Save publishes new edition of Art & Tech quarterly
  • 2026The Artists who Dream with Data | Refik Anadol and Efsun Erkılıç
  • 2026An Interview with Anna Ridler
  • 2026Art Basel Welcomes Converging Art Worlds
  • 2026The Art of Computers | Apple at 50
  • 2026Jehan Chu on the Collective Stewardship of Blue-Chip Art
  • 2026RIGHT CLICK SAVE ANNOUNCES NEW ART & TECH QUARTERLY
  • 2026Zero 10 Returns at Art Basel Hong Kong
  • 2026Hans Ulrich Obrist on David Hockney
  • 2026Slow Digital | The Art of Media Archaeology
  • 2026In Between the Art Worlds
  • 2026A-Z of Digital Art 2026
  • 2025Right Click Save’s Top 10 Stories in 2025
  • 2025Zero 10 | Digital Art Goes Mainstream at Art Basel
  • 2025ANNOUNCING A NEW HOME FOR RIGHT CLICK SAVE
  • 2024The Art of Money
  • 2024ANNOUNCING THE RCS BOOK
  • 2023The Emergent Artists of fx(hash)
  • 2023The Generations of Generative Art
  • 2023FEMGEN and the Brave New Art World
  • 2022The Lumen Prize Artists | Part 2
  • 2022NFTs and the Future of Metaverse Fashion
  • 2022Welcome to the Block Party
  • 2022How NFTs Changed the Art World
  • 2022Rare Digital Art Festival #1 Anniversary: DADA
  • 2022Rare Digital Art Festival #1 Anniversary: Joe Looney
  • 2022Rare Digital Art Festival #1 Anniversary: Larva Labs

Discussed

  • 2026In Search of Creative Intelligence
  • 2026A Museum for the Future | Ayoung Kim and James Turrell feature in Powerhouse Parramatta opening
  • 2026An Artist of Infinity | Remembering Yayoi Kusama 1929-2026
  • 2026On fxhash and the End of Radical Inclusivity
  • 2026A Quest to Show Art at Scale with Human Stories at its Heart | Onassis ONX Relay
  • 2026A Node in the Network Preserving Digital Art | LI-MA
  • 2026The Roving Digital Arts Festival Holding its 10th Edition | Abandon Normal Devices
  • 2026An Artist of the Internet | Jan Robert Leegte
  • 2026On Process | Serpentine Invites Public to Interact with its Archive
  • 2026Jessica Morgan Appointed Director of Tate
  • 2026Designs On the Future
  • 2026Dataland announces first cohort of AI artist residents
  • 2026A New Technology and Creativity Festival Comes to London | Creative Intelligence
  • 2026Massimiliano Gioni Appointed Director of the New Museum
  • 2026An Interview with Steven Sacks
  • 2026The Curator Ecology
  • 2026Animating the Everyday | DeeKay
  • 2026A Connected Art World Works Both Ways
  • 2026The Art of The Future | Stan VanDerBeek
  • 2026Landscapes of the Mind | William Mapan
  • 2026Remembering David Hockney 1937-2026
  • 2026From Code to Canon | The Chapters of Digital Art
  • 2026NODE | A Physical Space for a Digital World
  • 2026On Collecting by 100 collectors | EDOUARD on NFT preservation
  • 2026NFC Summit Puts Art First at New Factory Site
  • 2026Established Galleries Go Digital at Art Basel
  • 2026Change of Protocol | Digital Art at the Venice Biennale
  • 2026On Screens | Jefferson Hack and Susanna Davies-Crook
  • 2026The Interview | Maya Man
  • 2026Art Blocks Embraces AI Agents
  • 2026On Collecting | Ryan Zurrer, owner of 1OF1
  • 2026“Contemporary Perception is Hybrid” | Troika
  • 2026My Frankenstein | David Salle’s AI Experiment
  • 2026Swirls of Fortune | The Art of Clowns
  • 2026The New Museum Goes Back to the Future
  • 2026Recent Acquisitions | From Emi Kusano to Shahzia Sikander
  • 2026On Collecting | From Pascal Boyart to Vera Molnar
  • 2026In Search of Aesthetic Consensus | Botto
  • 2026The Canons of Digital Art
  • 2026Sculpture Meets Digital Art Under the Moon
  • 2026Sensing Quantum | Pierre Huyghe in Berlin
  • 2026Museum Opens Portals to the Past with Minecraft
  • 2026The Factory of Dreams | Onassis ONX
  • 2026On Collecting | From CryptoCats to Computational Media
  • 2025Digital Art Acquisitions in 2025
  • 2025Speculative Visions at the Munch Triennale
  • 2025Samia Halaby and Joshua Citarella to show at Whitney Biennial
  • 2025The Artists at the Intersection
  • 2025Tyler Hobbs on Signal and Noise
  • 2025A Portrait of AI
  • 2025The Art of Good Taste
  • 2025On NFTs | An Affordable Edition for Scholars and Curators
  • 2025The Lumen Prize Looks to the Future of Digital Art
  • 2025A Manifesto for AI Agents | Kristi Coronado and Solienne
  • 2025The Interview | Danielle Brathwaite-Shirley
  • 2025Larva Labs on Quine and Code as Art
  • 2025Larva Labs to Release Final Art Blocks Curated Project
  • 2025The Art of the Game
  • 2025Caring Code | Marcelo Soria-Rodríguez
  • 2025AI | ALTERNATIVE INTENTIONS
  • 2024Art on the Move | Jasia Reichardt
  • 2024The Lumen Prize | Yuqian Sun
  • 2024On net.art, postinternet, and CryptoArt
  • 2024Where Next for Digital Art?
  • 2023The fx(hash) Conversation | Ciphrd and Zancan
  • 2023The Space of Critical Immersion
  • 2023The Edges of Code
  • 2023Digital Art’s Byzantine Prehistory
  • 2023The New Crypto Artists
  • 2023The Power of Processing
  • 2023The Art of Embodied Immersion | Alida Sun
  • 2023The Interview | Piter Pasma
  • 2023When Poetry Took Over the Blockchain
  • 2023The Interview | A. Michael Noll
  • 2023The Interview | Operator
  • 2023Squiggles Bring Out the Best in Web3 in Tribute to Hal Finney
  • 2023Joe Kennedy and Artnome on Rebuilding the Art World
  • 2023The NFT Research Group | SODA
  • 2023PROOF OF PIXELS
  • 2023thefunnyguys and Artnome on Le Random
  • 2023On the Early Days of Hic Et Nunc
  • 2023Right Click Live and Japan’s New NFT Scene
  • 2022When the Artists Met the Algorist
  • 2022Can an App Transform NFT Collecting?
  • 2022How Do You Judge The Lumen Prize?
  • 2022How NFTs Changed Digital Art Forever
  • 2022WHAT’S YOUR #RIGHTCLICKFAVE?!
  • 2022Time On The Blockchain
  • 2022An Interview with Vera Molnar
  • 2022The Lumen Prize Artists | Part 1
  • 2022DAOs in the Art World
  • 2022Poetry at the Edge of the Human
  • 2022Digital Art in the Expanded Field
  • 2022Are NFTs a Real Solution for Museums?
  • 2022The Lumen Prize NFT Award
  • 2022Where Next for NFTs?

Mentioned

  • 2026Relics of the Future
  • 2026Serpentine Names First Cohort of Fellows Researching AI’s Effects on Society
  • 2026A Painter for the Digital Age | Mary Heilmann (1940-2026)
  • 2026An Artist Whose Futures Keep Coming True | Cao Fei
  • 2026Ed Fornieles | Borrowed Online Lives
  • 2026The Art of Nowism | Alistair Gentry (1973-2026)
  • 2026Future Relics | Ranbir Sidhu
  • 2026Landscape as Memory | Connie Bakshi’s “Black Water”
  • 2026Art After Justice | TJ Demos
  • 2026PLEASE RESPOND | Generative Art’s Exquisite Corpse
  • 2026In Emergent Fields | Iskra Velitchkova
  • 2026The Secret Life of an NPC: A Ghost Story
  • 2026Future Facing | Manuel Rabaté to lead India’s largest private museum
  • 2026Remembering Marian Goodman (1928-2026)
  • 2026Drawing with Robots | Patrick Tresset
  • 2026The Data Forest | Art at The World Economic Forum
  • 2026New Shows to See Around The World
  • 2025Art Basel Qatar to show digital projection by Bruce Nauman
  • 2025Metakovan Opens Art and Technology Space in Singapore
  • 2025Remembering Frank Gehry (1929-2025)
  • 2025Serpentine and The FLAG to Partner on New Global Prize
  • 2025Tokyo Sets Stage for Exhibition of Media Ecologies
  • 2025Infinite Images | The Art of Algorithms
  • 2025Synthetic Trauma and the Poetics of Erasure
  • 2025FEMGEN | The Conversation
  • 2025Computational Poetry | Wen New Atelier
  • 2025The Latent Image
  • 2025Dancing with Computers | Analivia Cordeiro
  • 2025Can Art and Tech Giants Shape Education with AI?
  • 2025The Power of The Paintbox
  • 2025Art After Artists
  • 2025The Interview | Libby Heaney
  • 2025When We Became Posthuman
  • 2025More Than Human Conversation
  • 2025Whatever Happened to NFTs?
  • 2025Cure³ Unites the Art World to Cure Parkinson’s
  • 2025The Interview | Bjørn Staal
  • 2025The Pixel Universe | Yosca Maeda
  • 2024The Art of DIY Education
  • 2024Living Artwork | Alexandra Daisy Ginsberg
  • 2024Herndon, Dryhurst, and Hobbs on Liquid Images
  • 2024Patterns of Flow | Revisiting Hiroshi Kawano
  • 2024Decentering the Human | Kadine James
  • 2024The Interview | john gerrard
  • 2024What the Punk!
  • 2024The Future of Creative AI
  • 2024The Interview | Matt DesLauriers
  • 2024The Metaverse as a Radical Medium
  • 2024The Interview | Jared S. Tarbell
  • 2023The New Precisionists
  • 2023The Interview | Danielle King
  • 2023The Art of Radical Inclusivity
  • 2023The Power of the Plotter
  • 2023On the Hypercentralization of Crypto Art
  • 2023The Land of OG | Frenetik Void
  • 2023The Generous Art of Robert Hodgin
  • 2023reGEN | Generative Artists Fighting Degenerative Diseases
  • 2023The True Value of Tokens
  • 2023The Interview | Refik Anadol
  • 2023Empire State of Crypto Art
  • 2023When Tyler Hobbs Met 0xDEAFBEEF
  • 2023On Curation | Yusuke Shono
  • 2023When Generative Art Became Contemporary Art
  • 2023What Does “On-Chain” Really Mean?
  • 2023The Power of Community Curation | JPG
  • 2023The NFT Curator | Cabline
  • 2023Is Art Getting Closer to Science?
  • 2023On Generative Pixel Art
  • 2023For the Love of Squiggles
  • 2023The Color of Code | Jeff Davis
  • 2023Emi Kusano and Japan’s New Retro
  • 2023How Can Universities Adapt to Web3?
  • 2023The Poetics of Protest
  • 2023How To (Really) Make It in Web3
  • 2023Painting and the Personal Computer | Samia Halaby
  • 2023Kitel | A Generative Artist for Ukraine
  • 2023Art in the Age of Algorithmic Selection
  • 2023Boundless Bodies and NFTs
  • 2023Why We Need a Generative Art Award
  • 2023Our Fathers | Chuck Csuri and D. P. Henry
  • 2023A New Model of Charitable Giving in Web3
  • 2022An Interview with Jesse Draxler
  • 2022NFTs and the New Power of Performance Art
  • 2022Shunsuke Takawo on Generative Art in Japan
  • 2022Why Should I Pin My NFTs?
  • 2022An Interview with XCOPY
  • 2022The IPFS Interview
  • 2022The Art of the Profile Picture Portrait
  • 2022An Interview with Ganbrood
  • 2022CIPHRD on FXHASH
  • 2022NFTs and The Tech Resurrection
  • 2022On Decentralized Curation
  • 2022Pathfinder and the New Logic of NFT Collecting
  • 2022Can Web3 Automate Equity?
  • 2022Tyler Hobbs on QQL and the Future of Generative Art
  • 2022The Lumen Interview | elekhlekha
  • 2022Can AI Unlock the Unconscious?
  • 2022NFTs After The Merge
  • 2022Is Blockchain a Medium?
  • 2022An Interview with Manfred Mohr
  • 2022How to Regulate NFTs
  • 2022An Interview with Snowfro
  • 2022An Interview with Marina Abramović
  • 2022Is it Possible to Decolonize the Blockchain and NFTs?
  • 2022THE NFT APOCALYPSE
  • 2022REPORT | NFT ART DAY ZRH
  • 2022Web3 and the New Social Contract
  • 2022NFTs and the Digital Democratization of Museums
  • 2022NFTs and the Risk of Perpetual Colonialism
  • 2022When Stephanie Dinkins Met Harm van den Dorpel
  • 2022fxhash | The Artists
  • 2022An Interview with Tyler Hobbs | Part 2
  • 2022fxhash | The Collectors
  • 2022The United Community of Crypto Art
  • 2022The NFT Collector | KarateKid
  • 2022The Worldbuilders of Web3
  • 2022In Search of Lost Robbies
  • 2022Nobody Works at the Canvas Museum
  • 2022Can NFTs Save the Music Industry?
  • 2022Robbie Barrat on “The Lost Robbies”

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From the Magazine

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On the Index

Alex Estorick— Editor