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<\/div>\n<\/div>\n\tWith 20 exhibitors, this will be the largest edition to date of an initiative that made a splash at its debut outing in the fair\u2019s 2025 Miami Beach edition, where artist Beeple unveiled Regular Animals<\/em>, a group of robot dogs bearing the faces of figures ranging from Pablo Picasso to Elon Musk, all of which pooped printed images. Paglen and Scheinman say there may not be any similarly spectacular moments, but they promise an equally thought-provoking presentation.<\/p>\n \n\tPaglen is the recipient of numerous honors, including a 2017 MacArthur \u201cgenius\u201d fellowship, the Electronic Frontier Foundation\u2019s 2014 Pioneer Award, the 2016 Deutsche B\u00f6rse Photography Prize, and the 2026 LG Guggenheim Award for Art and Technology. He\u2019s had solo exhibitions from the Smithsonian Museum of American Art in Washington, DC to the Fondazione Prada in Milan, and contributed research and cinematography to the Academy Award\u2013winning 2014 documentary Citizenfour<\/em>. His latest book, How to See Like a Machine: Images After AI<\/em>, \u201cdistills key insights from his practice to make the case that mainstream understanding of images remains stuck in an outdated paradigm,\u201d writes Louis Bury in Art in America<\/em>.<\/p>\n \n\t\u201cThere\u2019s traditional art over here and then the digital section over here, and a big divide between the two,\u201d said Paglen in the video conversation, characterizing the art world\u2019s typical approach. \u201cThe philosophy we wanted to take was showing that that divide has never existed. Look at any piece of art in the last 30 years\u2014it\u2019s natively digital. Any sculpture you see was probably designed on Blender or ZBrush. Photographers are working in Photoshop, and even painters are mocking things up with the same program.\u201d<\/p>\n \n\tBut in a curatorial statement, Paglen notes that as far as he\u2019s concerned, we should look back even farther when thinking about artists\u2019 predilection for the latest tools. \u201cCaravaggio would have murdered someone for a copy of Photoshop,\u201d the statement opens. \u201cLeonardo would have done far worse for a Claude Code subscription. Those are facts. Artists use whatever it takes.\u201d So, he later asks, the NFT craze aside, why is there such skepticism toward digital art in so many parts of the art world? He doles out high praise for the artists included in Zero 10, saying that they \u201chave all challenged me to see the world differently.\u201d<\/p>\n \n\t\u201cAs generative AI floods the world with texts without authors, art without artists, photographs without photographers, and music without musicians, the conversation is far from academic,\u201d adds Paglen in the statement. \u201cIt is the central cultural question of the present. The artists in this exhibition have been living inside it for decades. That\u2019s why they\u2019re here. That\u2019s why this matters.\u201d<\/p>\n \n\tMany artists in the show are familiar to art audiences, but some, says Scheinman, will be brand new to the museum directors and curators, dealers, collectors and advisers convening in Switzerland this summer. As an example he puts forth artist and engineer DEAFBEEF, presented by Asprey Studio of Kent, England, who will show Glitchbox<\/em> (2021\u201325), an interactive sculpture that \u201crecords participant-generated outputs on-chain,\u201d per press materials, in a presentation that brings together blacksmithing, audio, and code.<\/p>\n \n\t\u201cWe hope this presentation, of an artist who\u2019s been working with blockchain as the surface area of his work, will locate him amongst this dialogue that tracks back seventy years,\u201d said Scheinman. \u201cHe could be ghettoized as a crypto artist, but he is articulating ideas and concepts that fit this context. I think it\u2019s the new artists who likely will be the most substantive surprises.\u201d<\/p>\n \n\tZero 10 will also include public programs featuring leading voices such as artists Josh Kline and Rafael Lozano-Hemmer, British author Hari Kunzru, and writer and former Artforum <\/em>editor-in-chief Tina Rivers Ryan.<\/p>\n \n\tThe full exhibitor list follows:<\/p>\n \n\tArtMeta\u00a0<\/p>\n \n\tArt Blocks<\/p>\n \n\tAsprey Studio (Kent)<\/p>\n \n\tbitforms gallery (New York)\u00a0<\/p>\n \n\teastcontemporary (Milan)<\/p>\n \n\tMax Estrella (Madrid)<\/p>\n \n\tFellowship (London, Marrakech, Porto Cervo, Los Angeles)<\/p>\n \n\tGalerie Oniris (Rennes)<\/p>\n \n\tGazelli Art House (London)<\/p>\n \n\tMarian Goodman (New York, Paris, Los Angeles)<\/p>\n \n\tHauser & Wirth (Zurich, New York, London, Paris, Los Angeles, West Hollywood, Somerset, St. Moritz, Gstaad, Basel, Menorca, Chillida Leku, Monaco, Hong Kong)\u00a0<\/p>\n \n\tHEK, Haus der Elektronischen K\u00fcnste\/House of Electronic Arts (Basel)<\/p>\n \n\tInterface Gallery (Breda)<\/p>\n \n\tAndrew Kreps Gallery (New York)<\/p>\n \n\tNguyen Wahed (New York, London)<\/p>\n \n\tOffice Impart (Berlin)<\/p>\n \n\tAlmine Rech (Paris, New York, Brussels, Shanghai, Monaco, London, Gstaad)<\/p>\n \n\tEsther Schipper (Paris, Berlin, Seoul)\u00a0<\/p>\n \n\tSpr\u00fcth Magers (Berlin, London, Los Angeles, New York)<\/p>\n \n\tUpstream Gallery (Amsterdam)<\/p>\n<\/div>\n<\/div>\n [analyse_source url=”https:\/\/www.artnews.com\/art-news\/news\/artist-trevor-paglen-curate-art-basel-digital-art-sector-1234784990\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/Eli-Scheinman-Trevor-Paglen-Art-Basel-Zero-10-Caroline-Tompkins-.jpg?w=1024″] Trevor Paglen, the New York\u2013based artist known for his incisive engagement with knotty technological issues including surveillance and AI, will curate the third edition of \u201cZero 10,\u201d Art Basel\u2019s new initiative dedicated to the art of the digital era, the first to take place at the fair\u2019s Swiss edition (June 17\u201321). Major […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1933055","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1933055","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1933055"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1933055\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1933055"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1933055"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1933055"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"An](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/05\/John-Gerrard.jpeg?w=400\")
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