With over 20 years of experience in digital art, I am happy to help you build your collection – from early pioneers to today’s innovators. From Vera to Harm, from Rafaël to Manfred. Send me a DM if you're looking for a specific work of art!

The market is rewriting the canon in real time. Early computer art and algorithmic plotter drawings: secondary sales volume +28% in Q1 2026. Vintage 1970s works beating estimates by 35%. This is not a trend. It is a structural re-evaluation of digital history. We’ve been living in this material for years. source: @MutualArt #VeraMolnar #PlotterArt #ComputerArt #GenerativeArt

A lot of gallery work happens while travelling. A train to Germany for a studio visit. A day in Paris for meetings. A late night call with a museum in the US. Digital art has always crossed borders, but the relationships behind it are still built the old-fashioned way: one conversation at a time.

Four decades of collecting digital art and still very curious, generous and forward looking. A conversation with @michaelspalter is exactly what the medium needs: history, an understanding and conviction. Beautifully done, @verse_works Essential listening, link in the photo.

I’m often asked why I care so deeply about early computer art. These artists worked with almost nothing: limited access, slow machines, punch cards and plotters. Yet they created images that still feel remarkably alive. Once you understand the context of the 1960s, how difficult it actually was, you realize how radical and persistent they were. Constraint can be a remarkably productive form of freedom.They are the real heroes.

Before the computer, there was light. Between 1952 and 1955, @HerbertWFranke made the important series Lichtformen, generative photographs in which light, movement and photographic process produced images that seem to hover between drawing and apparition.

What defines digital art today is not simply the technology behind it but where it circulates, who supports it, and how it is valued. @manovich “Seven Worlds of Digital Art” is a timely guide to this complex landscape. Link in the notes.

Before Herbert W. Franke became known as a pioneer of computer art, he was also a physicist, science-fiction writer and cave explorer. Less widely known: in 1979 he co-founded Ars Electronica and decades later built Z-Galaxy, an early virtual exhibition world. He was imagining art’s digital future long before it had a name.

While a lot of museums still treat digital art as a side experiment, @ooeculture in Linz is showing how it’s done this autumn: one collection across 3 blockchains Ethereum, Tezos and Bitcoin. @beeple, @XCOPYART, @refikanadol,@REAS and dozens more. Physical, on-chain and in the metaverse. This is what institutional digital art looks like. Now just hide the cables and it would be perfect ;)

I am optimistic about digital art, not because of hype cycles. I see it in quieter signals: museums conducting serious research; collectors taking the time to learn; artists building sustained practices; and historical works finally receiving the attention they have long deserved. That feels more durable than excitement alone.