In this interview, Mdiac reflects on vertical collecting, his deep engagement with XCOPY, and the broader cultural, market, and infrastructural shifts shaping how on-chain art is collected, interpreted, and valued today.

In this conversation, #1 crush reflects on digital mythology, systems of belief, image circulation, internet memory, and the evolving relationship between identity and online culture.

In this new interview, Kate Vass speaks with BatSoupYum about collecting as cultural memory, the importance of supporting emerging artists, and the question of legacy in cryptoart. For him, collecting is a long-term commitment to the artists, ideas, and movements defining this era of digital art.

We sat down with Raoul for a conversation which began with macro and ended somewhere deeper: with taste, preservation, cultural memory, and the artworks that define an age. Thoughtful, sharp, and unexpectedly personal, this interview moves between finance and internet culture, between systems and symbols, between what holds value and what gives it meaning

Our article examines the rise of the longevity mindset: health as optimization in service of radical life extension and the consequences for power, capital, infrastructure, mental endurance, and culture.

As part of our ongoing project Collecting Art On-Chain - an initiative dedicated to documenting and preserving blockchain-native culture through conversations with early collectors, I sat down with aka thefunnyguys, an early generative art collector and the co-founder of Le Random and Raster.

On the cover: 0xfff, You Are Here, 2024

Who decentralizes? For whom?
And what actually changes when we say that something has been decentralized?

This essay does not approach CryptoPunks as isolated images or market phenomena. It treats them as an unusually legible case study of how culture forms under networked conditions-

The article examines how XCOPY’s work is perceived, misperceived, and reinterpreted as it moves across different contexts. Rather than asking who is “right” or “wrong,” it explores how meaning shifts through framing, expectation, and perception.

We were proud to take part in ETHDenver 2026, contributing to the Art at ETHDenver exhibition. Now, an article reflecting on the show and its context within the Web3 ecosystem has been published in NFT Magazine, written by Olena Yara.

After the Algorithm is a 10-day festival in Zurich that brought together artists, researchers, and builders. Among the participating artists was Alexander Mordvintsev, who presented Substrates of (A)Life, a projection-based installation.

Between 17 and 21 February 2026, we participated in ETHDenver, where we presented a selection drawn from Collecting Art Onchain. Rather than treating on-chain works as a stylistic category, the presentation foregrounded the conditions under which these works were produced, collected, and sustained.

Anteism presents a new art publication by Botto, a decentralized autonomous artist: Genesis: #000–051, a monograph documenting Botto’s formative first year and its 52 canonical works.

Observer’s review of Art Basel Miami Beach 2025 includes a thoughtful look at the newly launched Zero 10 digital section and references ideas from Kate Vass’s essay The Future Has No Walls.

We are happy to present Advent Collaboration, a digital advent calendar led by Jenni Pasanen, releasing 24 one-of-one artworks with 25 artists throughout December.

In this conversation, published by the DIFFRACTIONS collective, Rhea Myers traces her path from net art to protocol art, offering rare insight into the beliefs, tensions, and contradictions that animate her work.

Grayson Earle will take part in the upcoming exhibition Processing Process ~ No EnD In Site, opening at Hypha Studios Gallery 3 in London, curated by Korina Pavlidou.