The past few months have been among the most inspiring since I began working with digital and generative art 20 years ago. Between exhibitions, international fairs, and new collaborations, I’ve witnessed a remarkable shift in how this field is being embraced — not just online, but within the established art world itself.
A true personal highlight this fall was the exhibition dedicated to Vera Molnar at my gallery. I’ve admired her work for many years; its precision, her development and discipline have long shaped how I think about digital art. Seeing her plotter drawings, paintings and digital abstractions in our space, and experiencing the response they sparked, was deeply moving. Many of the works found new homes with both established and emerging collectors, proof that Molnar’s pioneering language continues to resonate across generations. Due to its success and the many enquiries, I am proud to announce that I have been able to extend it until February.
Equally exciting are the ongoing conversations with several museums about including digital works in their collections. These discussions feel significant — they suggest a growing recognition that digital art belongs within the broader art historical canon, not as a footnote but as an integral chapter. Even the fact that these dialogues are happening speaks volumes about how far this field has come.
At Paris Photo, that shift felt tangible. Digital and generative works were no longer treated as outliers but stood naturally alongside photographic experimentation. Conversations about blockchain provenance or algorithmic process blended seamlessly with those about light, texture, and time echoing a shared curiosity about how technology shapes perception.
Back home, I’m now preparing our first event of the year, on January 20, featuring Harm van Dorpel. His ability to merge conceptual rigor with digital materiality makes him the perfect artist to open this new chapter for the gallery. The meeting is really popular, I have already 50 interested people on the list.
Through all of this, I’ve realized how vital Twitter remains as a space for exchange. What begins as an online thread often evolves into collaboration, friendships, or unexpected creative encounters.
Looking back, these months have reaffirmed my belief that digital art is not defined by its tools but by its meaning, its ability to translate systems, code, and logic into something deeply human. It’s been a privilege to help artworks find their place, both on screens and on walls, as the conversation around them continues to grow.
Looking forward to what 2026 will bring!