Generation: Art Basel's Zero 10 Initiative Returns to Miami Beach With Its Largest Digital Art Presentation Yet

One year after its launch at Miami Beach in 2025, Art Basel's Zero 10 initiative returns for its second Miami Beach edition — and its largest presentation to date. Titled Generation, the show brings together 19 projects by artists and collectives working across digital and physical media, completing Zero 10's first global cycle after editions in Asia and Europe.

Zero 10 is Art Basel's global initiative for art of the digital era, dedicated to artists, galleries, and innovators exploring the intersection of art, technology, and culture. The initiative advances Art Basel's long-term commitment to artists working with digital technologies and to strengthening how their work is created, exhibited, contextualized, and collected within the international art market.

Curated by Karen Archey and Eli Scheinman, Generation takes its title from a deliberate double meaning. Generation as the computational process through which images, forms, and experiences are produced. And a new generation of artists reckoning with the systems and imaginaries of the digital age. The title holds both meanings simultaneously — and the tension between them is the show's animating idea.

The curatorial statement proposes a broad understanding of the generative — not merely as a technical process, but as a cultural and artistic condition. The show asks: what does it mean to make art with systems rather than simply about them? It is a question that distinguishes the most interesting work in this space from the merely technically impressive.

Artists working across digital and physical media are shown side by side. Works range from generative and algorithmic processes to immersive and experiential environments, to painting, sculpture, textiles, and moving image. They reflect on the ways in which technology mediates our relationships to nature, spirituality, identity, and one another.

Generation looks backward as much as forward. Contemporary generative practices are situated within larger histories of image-making, computers, and craft. A compelling case in point — and one of the show's most intellectually interesting threads — is the historical relationship between weaving and computational art. Both involve systems, repetition, pattern, modularity, and the translation of rules into complex forms.

By positioning emerging and established practices within the context of these connected histories, the curators surface a question that runs through the entire show: what does it mean to make art with systems rather than simply about them? The Jacquard loom and the algorithm are, in this reading, part of the same long conversation about how human creativity operates through constraint and structure.

The 19 projects span a remarkable range of approaches. Emily Xie (Art Blocks) works with generative algorithms to produce intricate, pattern-based compositions that feel simultaneously computational and handmade. Daniel Rozin (bitforms gallery) is known for his interactive mirror works that use physical materials — wood, trash, stuffed animals — to reflect the viewer's image through mechanical systems. Refik Anadol and Yawanawa (HOFA Gallery/Scorpios) brings together the Turkish-American data sculptor and the Yawanawa people of the Brazilian Amazon in a collaboration that raises urgent questions about AI, indigenous knowledge, and the ethics of generative systems.

Studio Drift (TAEX) creates kinetic sculptures and large-scale installations that explore the relationship between nature and technology — their work has become one of the defining visual languages of contemporary digital art. Random International (HOFA.io) is the collective behind Rain Room, one of the most visited art installations of the past decade; their work at Zero 10 continues their investigation of human behavior within controlled environments. Jon Rafman (Sprüth Magers) makes video and digital works that explore internet culture, identity, and the psychological effects of living online.

Other participants include Sarah Meyohas (Boesky Gallery), LoVid (galerie charlot), Richard T. Walker (CURRO), Mitchell F. Chan, Evil Biscuit, Lin Jingjing (Lov-Lov), Parker Ito, and Zhong Wei (de Sarthe/Nguyen Wahed), Leo Castaneda (Fredric Snitzer Gallery), Johanna Reich (Galerie Kornfeld), Yatreda (Load), Harm van den Dorpel (Lohaus Gallery/Interface Gallery), Luke Shannon (Louise Alexander Gallery), 0xfff (OFFICE IMPART), Robert Alice (Omer Tiroche Gallery), Faig Ahmed (Sapar Contemporary), and Abi Shehu (Voloshyn Gallery).

Miami has a particular relationship with digital and technology-driven art. The city's collector base skews younger and more tech-adjacent than those of New York or London, and the satellite fair ecosystem — including NADA, Untitled, and Scope — has long been more receptive to emerging digital practices than the main fair. Zero 10 represents Art Basel's acknowledgment that this is no longer a peripheral conversation.

The initiative also arrives at a moment when the market for digital art is maturing past the NFT boom and bust cycle. The artists in Generation are not primarily interested in blockchain provenance or speculative value — they are interested in what it means to make things with computational systems, and what those systems reveal about how we see, think, and relate to one another. That is a more durable question, and it is the one that will define the next decade of digital art.

Zero 10 is open during all Art Basel Miami Beach public hours, December 4–6, 11am–6pm, at the Miami Beach Convention Center. Access is included with all Art Basel tickets and cards.