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Known for his “data paintings” and immersive AI installations, Anadol reflects on the debut of Zero 10, a new sector at Art Basel dedicated exclusively to digital and new-media art.
Artist Refik Anadol has long been a pioneering voice in the digital art world. ARTECHOUSE’s relationship began with him in 2019, serving as the physical platform for his U.S. exhibition debut.
Now six years later, Anadol has gone on to exhibit in the world’s most prestigious venues, such as the Museum of Metropolitan Art.
During Art Basel 2025, we spoke with him about his perspective on the launch of Zero 10, Art Basel’s first dedicated space to art created through technology.
Here’s what he had to say:
]]>I’m so excited to be here. It was four years ago when we did the first experience in Miami Beach, and then with ARTECHOUSE, our show. So coming back all the way to Miami with digital art is amazing.
At Zero 10, I’ve seen lots of these incredible works appear on social media a few weeks ago, but to be here, physically experiencing the work not just on social media, is amazing.
We are physically celebrating the work of digital art. And I believe we are right now in the digital art renaissance. Digital art is no longer something in the corner. It’s not something just there on a TV.
It isn’t ignorable anymore. That feeling of it, the acceptance, to be a part of it naturally, and finally to feel all of the artists uniting around the movement… it’s an amazing moment.
– Refik Anadol, Art Basel 2025
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The Intersection of AI, Robotics, and Physical Sculpture.
At the heart of the Zero 10 sector, Beeple Studios presented Regular Animals, perhaps the most discussed installation of Art Basel Miami 2025. Featuring autonomous robotic dogs equipped with hyper-realistic silicone masks of figures like Elon Musk and Andy Warhol, the work challenged the boundaries between the digital and the tactile.
For us, this installation underscores a critical trend: digital art is moving off the screen and into the physical environment. These robots interacted with the crowd, “excreting” AI-generated prints that bridged the gap between code and tangible artifact.
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Bitforms Gallery curated a booth that acted as a living timeline of generative art, featuring pioneers like Manfred Mohralongside contemporary voices like Maya Man and Casey Reas.
The exhibit highlighted how custom software and algorithmic systems have moved from the “computer lab” to the “fine art gallery.”
For visitors familiar with our NYC and DC locations, seeing Manfred Mohr’s early plotter drawings alongside Maya Man’s modern data-scrapes provides essential context for the “Creative Tools” we champion daily.
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Introduction to ARTECHOUSE
+ Zero 10
Since our founding in 2017, ARTECHOUSE’s mission has been to educate, inspire, and empower the next generation of art created through technology. We’ve followed this mission from our inaugural location in Washington, D.C. to Miami, New York City, Houston, Iceland, Sweden and Canada, and globally through our Extended Reality App.
In 2025, this mission brought us back to Miami for the launch of Zero 10, Art Basel’s new curated initiative for art of the digital era.
We spent the week with many of the talented featured artists. One thread that connected each artist’s story was the significance of physical spaces when engaging with digital art.Spread through isolated platforms like social media, digital art is often cast in the corner, scrolled past, limited to the up-to-three-seconds attention span we allow it.
Physical spaces like Zero 10 and ARTECHOUSE force us to engage, be present and to actively participate in the work socially.Full video transcript:
People’s attention spans are really short in general, and so is mine online. And I think it’s really important for our work to have a physical presence and for people to be able to spend time with the work in a place that is not their phone or on their computer.
Digital art is part of this art.
For a long time, digital art has been on the sidelines; it’s been treated like an afterthought. A lot of the work that we’ve done—yourself with ARTECHOUSE, myself with Gateway—has paved the way to lead to this moment.
And so it feels very special to see so many artists… we’ve each had the pleasure, each of us separately have had the pleasure of exhibiting and showcasing, really reaching the stage. And to see digital art reaching the stage, I think, is incredibly special.
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Woosung Kang’s work is rooted in a unique process: listening to music and imagining the visuals, which he then brings to life using 3D software. This show is a testament to that style, where light and motion respond organically to sound, drawing the audience into a state of deep immersion.
The foundational music was composed by Woosung himself, using it to sculpt the entire visual structure. The most intriguing layer, however, is the incorporation of his past works, repurposed as interstellar DJ set visuals. Spotted on scrapped televisions and monitors, this blending of old and new elements, synchronized with the sound, led to “new and unexpected happy accidents” throughout the creative process.
“ARTECHOUSE is such an amazing place where you can look at the audience’s reaction in immersive space; people are just filming, dancing and taking pictures, and watching their reaction is a truly unique experience that I can’t get out of 2D monitors.”
– Woosung Kang
About the Artist
Woosung Kang
Woosung Kang is an art director and motion designer based in L.A.. Inspired by music, he crafts impactful visuals across mediums. His work includes visualizers and stage visuals for ODESZA and an Emmy-nominated title sequence for True Detective. Kang is expanding into XR, exploring how immersive content can merge sound, memory, and design into new forms of digital performance.