Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 at The Whitney

An indication, like in 2001, that institutions—forced apparently largely to be reactionary—are willing to show interest in digital art following a catalyst that sparks renewed public interest. This time period provided just that, as following a steep rise in cryptocurrency prices at the end of 2017 and into 2018, it is perhaps not a coincidence that the remainder of 2018 saw renewed institutional interest from entrants like The Whitney, The V&A and Christie’s. September saw the Whitney’s Programmed: Rules, Codes, and Choreographies in Art, 1965–2018.