Vera Molnar at Art Basel Zero 10, June 2026
Vera Molnar (1924–2023) is internationally recognized as one of the pioneering figures of digital art, algorithmic art, and generative art since the late 1960s. Presented jointly by Oniris Gallery and Interface Gallery at Art Basel, in the Zero10 sector, the exhibition highlights the lasting influence of her work on generations of contemporary artists.
Unlike many early digital art pioneers who came from engineering backgrounds, Molnar developed a practice deeply rooted in academic artistic training. For more than fifty years, her work has explored the relationship between order and randomness, structure and freedom, reason and play.
Through geometric compositions and algorithmic experimentation, she profoundly shaped the history of contemporary and digital art.
The exhibited works reveal the enduring modernity of her vision and her foundational role in the history of generative art.
#VeraMolnar #DigitalArt #AlgorithmicArt #GenerativeArt #ContemporaryArt ArtBasel Zero10 WomenInArt DigitalArtist ModernArt OnirisGallery InterfaceGallery
Binary code as a holy gold-illuminated manuscript. Roman Verostko (1929–2024), former Benedictine monk and true pioneer of algorithmic art, created pen-plotter drawings that still feel magical today. Ritual. Precision. Glow. This is a forgotten master. He started as a traditional painter, became a monk, and from the late 1970s began writing his own algorithms. Multi-pen plotters drew thousands of flawless lines, then he finished some by hand with real gold leaf. Ancient rituals meet future technology. Together with his close collaborator Jean-Pierre Hébert he co-founded The Algorists in 1995. The name for artists who craft their own algorithms with real emotion and craftsmanship. Today’s AxiDraw, p5.js and AI artists walk in their footsteps.
Abraham Moles (1920–1992) was the quiet architect of a revolution. He was the first to treat art as measurable information. His Théorie de l'information et perception esthétique (1958) made redundancy, surprise, and perceptual complexity the building blocks of aesthetics. Long before the algorithm existed, he had written its grammar. Moles didn't see art as creation. He saw it as a message. The receiver, the viewer, the listener, stood at the center, not the maker. Using cybernetics and psychology, he mapped the entire aesthetic spectrum: from the banal (high redundancy, zero surprise) to the radically new (maximum information, controlled disorder). Exactly the tension every generative system is still chasing today.
While other early computer artists saw the machine as a brush, Moles saw it as a mirror. Not a replacement for human thought but a provocation that forced us to rethink perception itself. In Art et ordinateur (1971) he predicted that future art schools would be computer centers, fueled by psychological perception labs.
In 1972, Moles edited Art Ex Machina. One of the very first computer art portfolios ever published, with signed screenprints by Frieder Nake, Manfred Mohr, Georg Nees and others, edition of 200. And his theoretical foundation underpinned the debates that made landmark exhibitions like Cybernetic Serendipity (ICA London, 1968) possible. He wrote the theory that allowed the art to understand itself🔥.
Final days! @harmvandendorpel 's exhibition is closing soon. This is your last chance to experience it in person or secure the last available artworks. You can still visit until May 2 at @miminguyenmimi in NY.
In 1968, before personal computers, before the internet, before AI art. An American sculptor used code to create one of the first computer generated sculptures in history. Meet Robert Mallary. And his Quad (s) still looks shockingly modern today. Mallary started as an abstract expressionist making junk sculptures from urban waste and industrial resins. Then something shifted. He became obsessed with the computer as a creative tool and started writing his own programs to generate forms no human hand could replicate. His Quad was shown at Cybernetic Serendipity in London. The legendary 1968 exhibition that introduced the world to computer art. Works from that show now live in the Tate, MoMA and the Whitney. Most people have never heard his name.
Harm van den Dorpel @harmvandendorpel solo exhibition “Senescenence”
April 3, 2026–May 4, 2026
Interfacegallery in collaboration with Interface Gallery @nguyenwahedart
504 E 12 St, 10009
Photo credit: Morgan Waltz
Thank you to everyone who joined us last Friday for the opening of Harm van den Dorpel @harmvandendorpel solo exhibition “Senescenence”
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Harm van den Dorpel
“Senescenence”
April 3, 2026–May 4, 2026
Nguyen Wahed in collaboration with Interface Gallery @interfacegallery.io
504 E 12 St, 10009
Tomorrow at Nguyen Wahed New York, Harm van den Dorpel @harmvandendorpel solo exhibition “Senescenence”
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Opening reception: April 3, 2026, 6–8 PM
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Harm van den Dorpel
“Senescenence”
April 3, 2026–May 4, 2026
Nguyen Wahed in collaboration with Interface Gallery @interfacegallery.io
504 E 12 St, 10009
Four screenshots of my new generative animated series "Stained Unravel". This one is using the "mother of pearl" palette.
To be premiered as part of my upcoming exhibition "Senescenence" at @nguyenwahedart
Opening Reception: Friday April 3, 6pm
504 E 12 St, 10009 New York
Next month at Nguyen Wahed New York – @harmvandendorpel Harm van den Dorpel solo exhibition “Senescenence”
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Opening reception: April 3, 2026, 6–8 PM
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In collaboration with @interfacegallery.io Interface Gallery, the exhibition brings together a body of generative animations built upon a cellular automaton in the tradition of Conway’s Game of Life, where a minimal set of rules gives rise to extraordinary complexity, and where death is not failure but the system’s natural feature. Alongside the screen-based works, the exhibition also includes a series of plotter drawings on paper — tracing the same generative logic into an anachronistic register.
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Harm van den Dorpel (b. 1981) develops a practice centred on dynamic systems that continuously shift and adapt within technological environments. Working across media including drawing, sculpture, computer-generated imagery, and custom software, he constructs frameworks in which artworks evolve over time through algorithmic structures, recursion, and feedback mechanisms.
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Harm van den Dorpel
“Senescenence”
April 3, 2026–May 4, 2026
Nguyen Wahed in collaboration with Interface Gallery
504 E 12 St, 10009
What a special gathering it was yesterday. Meeting collectors and talking to @harmvddorpel about his ideas, development and artworks is the best part of the job. It’s great to bring so many people together who appreciate digital art.
Vera Molnar — Hommage à Mondrian
From brush to algorithm
At first glance, two grids — separated by six decades. Piet Mondrian painted the world’s rhythms into geometry;
Vera Molnar translated that geometry into code.
Both sought harmony through structure,
but where Mondrian held the brush, Molnar wrote the instruction.
Her 1974 plotter drawing Mondrian (74.026 – 12.41.44) re-imagines his spirit for the computer age —
a generative echo of modernism, still resonating through MoMA, Kröller-Müller Museum, and Kunstmuseum Den Haag.
#VeraMolnar #Mondrian #GenerativeArt #ComputerArt #DigitalAbstraction #MoMA #KrollerMuller #KunstmuseumDenHaag #InterfaceGallery #Modernism #DeStijl
