When Art Basel launched Zero 10 at Miami Beach last December, the message was blunt: digital art belongs inside the fair, with price lists and proper walls, alongside everything else. The sector’s name references Malevich’s 0,10 exhibition in 1915, a show that broke with representational painting and reset the rules for a century. Art Basel is betting that digital art represents a similar inflection point, and the market data suggests they may be right. According to the Art Basel and UBS Survey of Global Collecting 2025, digital art ranks third in total collector spending, behind painting and sculpture. Its share of private collections quadrupled in a single year, from about three percent to thirteen.

The Hong Kong edition, running March 27 through 29, 2026, expands to fourteen exhibitors. Among them is bitforms gallery, the New York space that Steven Sacks founded in 2001 and that has spent the last twenty-five years building one of the preeminent galleries for new media art. The gallery has represented everyone from 87-year-old pioneer Manfred Mohr, who started writing algorithms in the late 1960s, to Refik Anadol, who became a global phenomenon. For Hong Kong, Sacks is showing two artists whose work sits at the intersection of live data, natural phenomena, and computational image-making: Daniel Canogar and Quayola.

Quayola, Storm #06__K01__01594__004, 2026, 2744 x 3840 px, NFT available through objkt one. Courtesy of bitforms gallery.

Cornwall Through Code

Hailing from Rome, Quayola’s practice starts with source material drawn from European art history or the natural world, runs it through custom software, and stops the process somewhere between recognizable image and full abstraction. The Storms series began with ultra-high-definition footage of the sea off Cornwall, the same stretch of coast Turner painted. Quayola’s algorithms decompose the footage frame by frame, pulling pictorial forms apart until they start to dissolve. The series is being released on objkt one as 50 unique editions, and collectors who acquire one there have the option to purchase a print alongside it.

Two prints from the series are on the bitforms stand: Storm #04__K16_02823 and Storm #04__K16M3_23886, both 2022, inkjet on Hahnemühle paper, about 28 by 38 inches, each a unique edition plus one AP. They look like paintings. They also look like photographs of weather. In person they occupy an odd, productive middle ground where you keep changing your mind about what you’re seeing.

The third Quayola piece, Storm #08 (2021), is a fifteen-minute looping video. The algorithmic waves build and collapse in rhythms that owe nothing to ocean physics and everything to how the code processes color and motion. Quayola shared the 2013 Golden Nica at Ars Electronica with Memo Akten for Forms and has shown at the V&A, Park Avenue Armory, Palais de Tokyo, and the São Paulo Biennale. At this point his institutional CV makes the case for algorithmic art without anyone needing to argue on its behalf.

Daniel Canogar, *Zero-Day*, 2026, custom software (color, silent). Courtesy bitforms gallery.

Canogar’s Live Feeds

Daniel Canogar comes at digital art from the other end. Born in Madrid in 1964, trained as a photographer at NYU and the International Center for Photography, he spent years making sculptures from discarded electronics before pivoting to generative work driven by real-time data. His three pieces at Zero 10 each pull from a different live source, and each turns that invisible stream into something you can stand in front of and feel.

Diorama I (Short) (2025) is a horizontal beam of metal, LED panels, and electronics, about four feet long. It reacts to live natural-disaster alerts, drawing from archived footage of snowstorms and desertification. When alerts spike, the imagery accelerates. When they subside, it drifts. The name borrows from those old museum dioramas, the taxidermied habitats behind glass, except the habitat here is data and the weather is algorithmic.

Levels (2025) pulls its feed from live game-streaming platforms, specifically side-scrollers. The sculpture is a compact, tiered tower that reads like a cross between a Donald Judd and an arcade cabinet. Canogar argues the side-scroller is the digital heir to the nineteenth-century panorama, both modes of visual entertainment built on the fantasy of conquering space by looking at it. Whether that holds up to scrutiny or just sounds good on a wall label, the object itself rewards attention: a small structure humming with the real-time activity of gamers thousands of miles away.

Zero-Day (2026) may be the sharpest piece in the booth. It scrapes cyberthreat intelligence websites and turns the output into streams of text that dissolve into ink-like color blooms on a portrait screen. Canogar cites Rorschach tests, Chinese ink painting, and psychedelic aesthetics. In practice the piece has a strange calm that sits against the fact that everything on screen traces back to active security vulnerabilities. In Hong Kong, where questions of digital surveillance and information flow carry particular weight, the work has a specificity the other pieces lack.

Quayola, *Storm #08,* 2021, video (color, sound). Courtesy bitforms gallery.

The Partnership

The back story worth knowing is the Tezos partnership. In 2025, the Tezos Foundation, which supports the energy-efficient blockchain that became a popular home for digital artists after the scrappy marketplace hic et nunc launched in 2021, entered an annual arrangement with bitforms. Sacks provides curatorial direction. The first show under the deal was Tree_Line, a solo by the French generative artist Zancan, in New York last June. The gallery includes artists working on the Tezos blockchain in its annual programming.

For context: the Tezos art community now numbers over 100,000 artists across platforms like objkt and teia, with institutional partnerships including the Museum of the Moving Image and HEK Basel. The inaugural Art on Tezos: Berlin event in November 2025 brought more than five hundred artists together across five venues, bitforms gallery among the participants.

What makes the bitforms connection valuable for both sides is simple. Artists who built their practice on Tezos gain access to a gallery with decades of collector relationships and fair invitations. bitforms, one of the first major galleries on Tezos when it launched there in March 2021, gains a pipeline to a generation of artists who think about ownership, provenance, and distribution through blockchain infrastructure in ways the traditional gallery system is still learning.

The Canogar-Quayola booth at Zero 10, while it features artists with long gallery histories, sits within the larger framing of a gallery that has been working this territory since Tezos’s earliest days. The Zancan show in New York and the Art on Tezos programming are part of the same story as the Hong Kong fair booth. Sacks is building a through-line from Mohr’s 1970s algorithms to Zancan’s blockchain-minted forests to Canogar’s disaster-data sculptures, and he is doing it inside the most mainstream art-market context available.

Art Basel Hong Kong: March 27 through 29, 2026, Hong Kong Convention and Exhibition Centre. bitforms gallery is located at 131 Allen Street, New York, NY 10002.

Editor’s note: The author is a member of Art Basel’s Digital Art Council.