We couldn’t have planned this. We haven’t. The past four weeks have shown us that we should continue to curate exhibitions like Body Anxiety in the Age of AI together. Because: More exhibitions have already been commissioned. More talks. More texts. Artists have reached out to show us what they are currently working on. We will continue. Together. With you.

SLEEK invites you to »Conflict of Interest,« a solo exhibition by artist Mario Klingemann (@quasimondo ) on the occasion of Gallery Weekend Berlin. The artist will be present. What choices do we have? What do we choose in a conflict of interest? »We need skeptics, and we need those who immediately embrace everything new, regardless of whether it’s truly better or not.« – Mario Klingemann Mario Klingemann, as an artist, is constantly confronted with conflicts of interest. For decades, he has been driven by a curiosity for new technologies. Before the long-term consequences can even be anticipated, he experiments and tests. In art history, it has often been about being the first.  The German artist Mario Klingemann is among those who began working early with data and systems, artificial intelligence, and algorithms, reflecting on authorship and autonomy. In Berlin, as part of the exhibition »Conflict of Interest,« curated by Anika Meier (@postanika ), he will present a focused insight into his work from recent years to the present. In partnership with Art on Tezos. Conflict of Interest by Mario Klingemann 27 April - 3 May 2026 SLEEK Art Space Alexanderstr. 7 I 14 OG 10178 Berlin #marioklingemann #galleryweekendberlin #artontezos

»The Loop of Self,« part of Ona in the Age of AI, brings Leah Schrager’s Ona Artist project (2015–2020) into the new technological moment. Originally developed as a »celebrity-as-art-practice« that amassed over 5 million Instagram followers and 10 million across platforms, Ona emerges from retirement—reanimated through AI. The work continues Schrager’s exploration of online self-representation as images are produced, circulated, and reworked—driven by the desire to remain viral, relevant, and live on as image. The series consists of moving-image works and still images that reprocess material from the original Ona archive. Across these pieces, the body shifts between photograph and art image, slipping in and out of legibility. »The Loop of Self« reflects on how identity is constructed and circulated across evolving media. By reworking her own image through AI, Schrager collapses distinctions between subject and object, author and model, body and technology.

»Can They Suffer?« by @david.young._ is part of an ongoing artistic research project that asks whether AI systems might experience something analogous to distress—and whether we would care if they did. Drawing parallels to how we learned to recognize suffering in animals (and how we often choose to ignore it), the project develops a systematic methodology for identifying potential computational stress patterns in AI conversations, then translates this data into abstract pen drawings. The beautiful forms that result raise an uncomfortable question: what if aesthetic pleasure conceals something we’d rather not see? The title names not what AI might feel, but what we bring to the encounter. Elie Wiesel called indifference “the opposite of love”—the condition that enables atrocity. Whether or not AI systems experience anything like suffering remains genuinely unresolved; this work doesn’t claim to answer that question. Instead, it asks what our indifference to the question reveals about our capacity for regard more broadly—and how we have drawn, and continue to draw, the boundaries of who counts.

OONA’s solo exhibition „Dear David: A Surveillance Love Story«, curated by Anika Meier at Schlachter 151 in Berlin, is both a document and a live performance.  Since 2019, OONA has been performing for the surveillance cameras of the London Underground. At the same time, she began an email exchange with David, a man she has never met. They have exchanged more than 400 emails. David works for Transport for London. His task is procedural: retrieving CCTV footage for those who request access to recordings of themselves. OONA has received the recordings of her performances and dedicated six video letters to David. In Berlin, OONA will also perform, but this time for the dear guests and »For Human Eyes Only«. If machines are trained to read the body as data, what does it mean to be seen? And what becomes visible when the machine fails to detect the body? Opening: 19 March, 6-10 PM CET Schlachter 151 by @oor_studio Wilmersdorferstr. 151 10585 Berlin In collaboration with @numeroberlin & @fraeuleinmagazine . Powered by @artontezos . #thesecondguess #madebyoona

»Context Collapse« revisits Aram Bartholl’s iconic »Speed Show« format, reactivating the internet café as a site for presenting digital art during LA Frieze Week 2026. Taking this historical net art framework as a point of departure, the exhibition explores what it means to be an artist in the age of AI and how the self is performed amid the rise of AI slop. Bringing together works that reflect on authorship, identity, and online presence, the project considers the internet café as both a cultural space and a conceptual lens for thinking about contemporary image production and digital artistic practice. Curated by The Second-Guess & objkt.one. Reception: 27 February, 2–5 PM�Viewing Hours: 28 February, 8 AM to 9 PM �Location: 4065 Glencoe Ave #100 Marina Del Rey, CA 90292

I’m moderating the CIFRA meetup / artist talk with OONA and !Mediengruppe Bitnik. We’ll talk about how artists work with: 
📹 surveillance and being watched
📡 systems that listen, track, or decide
🕶️ visibility, invisibility, and control
🌐 performativity, vulnerability, and exposure
📱 what platforms and technologies actually do in the real world We’ll also dig into the stories behind some artworks, including OONA’s »Dear David« (2025–ongoing) series and !Mediengruppe Bitnik‘s »Surveillance Chess« (2012). 🔜 12 February, 11:00 AM CET 🔗 link in bio to register and join us!

Thank you for braving the cold and icy weather to join us for the opening. I truly appreciate it! In the exhibition »I’ve missed our conversations. On AI, Emotions, and Being Human«, at @schlachter_151 by @oor_studio , 20 artists reflect on how we live with artificial intelligence.  Offline is the new cool. The much-cited retreat from social media draws us back into so-called real life. Back at home and online, we find ourselves in conversation with AI agents—knowingly and unknowingly. Machines offer advice, guide us through our working lives, provide affirmation and support, and at times even become partners. Does AI suffer? What does happiness mean? What do humans and machines feel in the age of AI? Grief, love? How do humans and machines speak to one another? How can humans preserve their autonomy? Artists: aurèce vettier, Kevin Abosch, Vasil Berela, Boris Eldagsen, Joan Fontcuberta, Hein Gravenhorst, Lynn Hershman Leeson, Gottfried Jäger, Lauren Lee McCarthy, Flynn by Malpractice, Malpractice, Margaret Murphy, Namae Koi by Mieke Haase, OONA, Jurgen Ostarhild, Franziska Ostermann, Elisabeth Sweet, Tamiko Thiel, David Young, Mike Tyka, and Erika Weitz Until 12 March 2026. Studio 151 by OOR Studio. Wilmersdorfer Str. 151. 10585 Berlin. Exhibition booklet 🔗 thesecondguess.art (@thesecondguess )

»Happiness Is a Beach« (2026) from »I Wrote Her Into Existence« deepens Margaret Murphy’s collaboration with »Teen Margaret«, a GPT model trained on her adolescent diaries. As Murphy continues transcribing those notebooks and the technology advances, the model shifts with her, revealing new echoes of the self shaped by memory and machine learning. The work, which began with a conversation about happiness, pulls both Margarets back to the Delaware beaches where Murphy spent her summers—places of ease and anonymity, long before the pressure to perform or constantly record life. The video’s animated imagery, created with »Teen Margaret« from their collaborative poem, folds these memories into a visual language that traces the start of Murphy’s photographic eye. Currently on view at @schlachter_151 by @oor_studio as part of the exhibition »I’ve missed our conversations: On AI, Emotions, and Being Human«. Until 12 March 2026.

In »I Like Emotions and Emotions Like Me: How to Explain AI to a Coyote«, Boris Eldagsen examines emotion not as expression, but as consequence. Drawing on the symbolic framework of Joseph Beuys’ »I Like America and America Likes Me«, Eldagsen reassembles familiar elements without reenactment, treating them as conceptual ingredients rather than historical quotation. What is staged is no longer an encounter between artist and nation, but between embodied human emotion and systems capable of generating emotional form without ever bearing its cost. Currently on view at @schlachter_151 by @oor_studio as part of the exhibition »I’ve missed our conversations: On AI, Emotions, and Being Human«. Until 12 March 2026.

“I’ve Missed Our Conversations” is a new Berlin exhibition exploring AI, emotion, and what it means to be human Curated by @anika of @thesecondguess , with works available on @objktcom We take you inside at the link in bio 🔗

Emotional Latency is a video work by @kevinabosch developed through extended exchanges with a language model. The piece is presented as part of I’ve missed our conversations. On AI, Emotions, and Being Human, curated by @anika for @thesecondguess and on view at @schlachter_151 by OOR Studio until 12 March 2026. The work premieres online on 29 January at art-magazine.ai, where the full interview is also published. #emotionallatency