This week’s featured collector is UprightVenture

UprightVenture is a “builder of things.” View their wild collection at lazy.com/uprightventure

Last week’s poll was a good reality check on what Lazy collectors actually mean by “onchain magic.” Market dynamics took the lead with 50%, while process & craft and context & legacy split the rest at 25% each. What’s most surprising is what got zero: conceptual mechanics (the “code is the art” stuff).

The insight here is that most of you aren’t undecided—you’re just focused. The “magic” you feel most strongly isn’t the abstract cleverness of a smart contract; it’s either (a) the game theory of auctions, scarcity, and price discovery, or (b) the human layer: how the work is made and how it enters culture. In other words, the center of gravity is shifting from novelty to execution: how projects land in the market, how they’re produced, and how they’ll be remembered.

Flow’s Dec. 27 exploit created a new kind of NFT lending risk: “you can’t repay even if you want to”

The Dec. 27 exploit on the Flow blockchain is turning into a cautionary tale for NFT finance: not because users lost balances (Flow Foundation says they didn’t), but because a network pause can force defaults even when borrowers want to repay.

After the exploit, Flow paused its Cadence execution environment—halting onchain activity until the morning of Dec. 29. That pause didn’t just stop trading and transfers; it interrupted time-sensitive contracts. If you had an NFT-backed loan coming due during the freeze, you couldn’t transact, move tokens, or repay.

The sharpest impact showed up on Flowty, a Flow-based NFT lending platform. Flowty says 11 loans matured during the pause, when borrowers were unable to take any actions. Once the chain came back, those loans resolved in a way that highlights the mismatch between “smart contract rules” and “real-world conditions”: 1 loan was repaid via autopay, 8 defaulted, and 2 failed to settle because one or both accounts were restricted due to suspected links to the exploit. Put simply: some borrowers defaulted not because they chose not to repay, but because they couldn’t.

Even after Cadence resumed, the ecosystem didn’t snap back to normal. Flowty notes that token swapping is still largely unavailable, leaving many users unable to acquire the assets they need to repay. That’s the second-order risk most NFT collectors don’t think about: loan repayment often depends on a functioning swap layer. If you can’t swap into the repayment token, you can’t repay—even if the chain is technically “up.”

To avoid more infrastructure-driven defaults, Flowty took an unusual step. As of 2:15 p.m. ET on Dec. 30, it paused settlement on all loans. Any loan that matures during this period won’t settle or default; instead it remains outstanding in what Flowty calls “limbo.” Flowty says it plans to open a defined repayment window once broader ecosystem functionality stabilizes, but there’s no timeline yet, because there’s no clear timeline for swaps and other DeFi functionality to fully return.

This approach freezes both sides. Lenders won’t accrue additional interest on paused loans, which is a real downside. Meanwhile borrowers who already have the funds can’t repay early and reclaim their NFTs because settlement is paused across the board. Flowty acknowledges the tradeoff, but argues it’s preferable to forced defaults that could cause borrowers to lose unique or irreplaceable NFTs due to conditions outside their control.

Flowty also moved to limit further exposure: it disabled new loan listings and removed existing listings from its marketplace while the ecosystem remains unstable.

Meanwhile, the broader market impact is visible. FLOW fell roughly 40% immediately after the incident and then dropped another 17% to about $0.086. Price aside, the bigger point is confidence: when core rails like swaps and lending are impaired, “technical incident” quickly becomes an ecosystem event.

The lesson for NFT collectors and creators is bigger than Flow: NFT-backed lending isn’t only about collateral and code—it’s about uptime, liquidity, and execution guarantees.

Read more at The Block.

Poll: What would make NFT art feel worth paying attention to again in 2026?

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This week’s featured collector is Endeji

Endeji is a fan of pfps, especially cute ones. Check it out at lazy.com/endeji

Last week’s poll split the room into two dominant camps. The top answers were “Cycles within cycles” (33%) and “Post-token era” (33%), suggesting many of you expect NFT art to continue—but not in a single, clean “comeback” narrative. One group sees the future as recurring micro-waves (new formats, new platforms, new aesthetics) rather than one big cycle; the other expects the art to survive while the NFT wrapper fades into the background.

Meanwhile, “Mutation, not comeback” (17%) and “Something else” (17%) picked up a meaningful minority, and “Underground → institutional → underground” got 0%—a surprising vote of no confidence in the idea that the scene will keep relocating as it gets gatekept. The overall vibe: fewer people are betting on a single storyline, and more are expecting messy evolution.

Animating Quines for Larva Labs: a behind-the-scenes look at “code that makes art that makes code”

If you like NFTs for the mechanics—not just the market—there’s a genuinely fun behind-the-scenes blog post you should read: “Animating Quines for Larva Labs.” It’s written by the animator/developer Larva Labs pulled in right before they announced Quine, and it’s the rare kind of post that’s both technically juicy and actually readable. The setup is classic crypto serendipity: the author bumps into John Watkinson (half of Larva Labs, alongside Matt Hall) while planning to go independent again, mentions freelancing, and John has an instant “perfect timing” reaction. Turns out Larva Labs is weeks away from launching a new project and needs someone to animate it. There’s also a gut-punch aside that will make any collector wince: the author sat next to Matt and John when they were first building CryptoPunks, got offered some, and declined because they were too busy. An all-time “pain” moment, delivered very casually.

The best part is the way the post explains what Quine actually is without getting lost in the weeds. In Larva Labs’ words, it’s “a generative art project that blurs the line between its code and the art it produces.” On the surface it looks like beautiful, procedurally-generated pixel art—but if you look closer, each piece literally contains embedded code. Extract the code, run it, and it generates the next image in that Quine’s sequence. Then it gets even more collector-brained: every Quine has a “quinity” (3-Quine, 5-Quine, 7-Quine, etc.), which determines how many generations it takes before the sequence loops back to the start. A 3-Quine loops after the third generation, a 5-Quine after the fifth, and so on. And there are two rare types that feel designed to light up anyone who loves onchain lore: Perfect-Quines, which only ever recreate themselves, and Pseudo-Quines, which can generate an effectively infinite sequence without looping. The author admits they went from “intrigued” to “hooked,” which honestly tracks.

Where the story really gets interesting—especially if you’re a creator—is the communication problem Larva Labs is trying to solve. Quine is clever, but clever doesn’t always read in a scroll. Matt and John wanted an animation that could make the generation process instantly legible: show the artwork being “printed,” show the embedded code being “scanned,” show that scanning the code produces the next generation. The author’s day job experience (they’ve animated a lot of SVGs, including at Stripe) makes them a good fit, but the Quines themselves are technical monsters. Each piece is a JavaScript program that outputs an SVG, and those SVGs can be huge—up to 14,400 little square elements plus thousands of text elements for the code inside. If you’ve ever tried to animate heavy SVGs, you know where this is going. They quickly pivot to using HTML canvas for performance, then run a bunch of tests to see what’s feasible: animating every shape individually, animating text transforms, animating grouped layers, testing layered passes. The surprise is that even the “worst case” tests aren’t catastrophic, but you can feel the author choosing the approach that won’t melt laptops.

The creative decisions are the most satisfying part. To explain something abstract, they lean into physical metaphors—printing like an inkjet, or screen-printing with separate color passes. They try a few variations (linear vs eased, single direction vs bidirectional sweeps) and land on a slow, mechanical feel because it builds anticipation and makes the process obvious. Then they realize an important storytelling issue: printing the code and the pixel layers at the same time makes them feel equal, and the code is the whole point. So they change the sequence: print the code first so you can’t miss it, then layer the squares on top, even letting the code invert as the image resolves. It’s a small move that dramatically clarifies what’s special about Quine: there’s real, meaningful code inside the artwork—not decorative “code aesthetic.”

After that comes the “scan” animation, which is basically a clever UI trick. People understand code better when they see it in a familiar environment, so the author introduces a faux code editor and a scanning line that passes over the quine, pulling the embedded code into that editor. It’s simple, but it communicates the key idea: the code is legible, extractable, and actually drives the next output. And when they combine the two sequences—print, scan, generate—the whole thing snaps into place: print the quine, scan the quine, scanning prints the quine. Suddenly a concept that sounds like a math joke becomes visually obvious.

There’s also real-world context that collectors will care about. Larva Labs announced Quine on Art Blocks and auctioned 477 of the 497 pieces, with the sale closing at 7.56 ETH (about $31,000) per Quine. After the auction, Larva Labs came back for an “expanded” version of the animation for Art Basel Miami, where Quine was shown in a gallery format: framed prints, a giant table grid showing all Quines, and a 4K TV playing an eight-and-a-half-minute loop that runs through whole sequences (with quinities ranging from 3 to 11), moves to the next Quine, and loops back to the start. The most delightful nerd detail: the author’s animation system literally extracts the Quine’s embedded code and uses it to generate the next sequence in the animation. It’s not just illustrating recursion—it’s running it. A generator of generators.

If you collect Larva Labs or care about onchain-native generative work, the post will deepen your appreciation for Quine beyond “cool pixels.” If you’re a creator, it’s basically a case study in how to explain a complex mechanism without dumbing it down—use metaphors, make the critical detail impossible to miss, and let the visuals do the teaching. Either way, it’s one of those rare reads that makes you feel the old “early internet” excitement again, minus the noise. I’d recommend reading the original for the performance and animation breakdowns alone—plus, you’ll probably laugh (and wince) at the CryptoPunks anecdote.

Read the full behind-the-scenes blog at Destroy Today.

Poll: What’s your favorite kind of “onchain magic” in NFT art?

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This week’s featured collector is Creativebloch

Creativebloch is a Brooklyn-based artist who channels the raw energy of New York City into layered acrylic paintings that capture grit, history, and humanity. Check it out at lazy.com/creativebloch

Last week’s poll landed in a dead heat: 43% of you said NFT art is “in transition,” and 43% said it’s “mostly over.” Only 14% think we’re still early. The interesting part is that even the split isn’t really about whether NFT art exists—it’s about whether the post-2021 reset is a messy middle chapter or the closing credits. Same facts, two readings: one group sees a medium rebuilding its norms (distribution, curation, royalties, institutions), the other sees the hype-era proving the ceiling. Either way, optimism is no longer default—and that’s probably a sign the space is maturing.

From NFT collector to builder of onchain cultural infrastructure

If you’ve been around NFTs since the first wave, you already know the name Vignesh Sundaresan—better known as Metakovan, the collector behind Beeple’s Everydays: The First 5000 Days. That purchase wasn’t just a trophy moment; it was one of the clearest signals that NFTs had opened a new lane for digital art: global distribution, digital-native ownership, and a cultural market that didn’t need permission from the usual gatekeepers.

Now Sundaresan is pushing the story forward in a way that should interest anyone who cares about NFTs as more than collectibles: he’s building infrastructure.

In Singapore, he’s founded Padimai Art & Tech Studio, a space where commissioning, exhibition, and technical research converge—and where blockchain is used for something most NFT platforms talk about but rarely deliver: durable cultural memory. “Padimai is a Tamil word that means thought or philosophy — the solidifying of an idea into something,” he says. In NFT terms, it reads like a shift from buying a piece to building the rails that keep digital art alive.

Padimai opens with a commission that’s basically a thesis statement: Olafur Eliasson’s Your view matter, a VR work made up of six virtual environments based on the five Platonic solids plus a sphere. The forms are perfectly symmetrical, but the experience isn’t. In VR, the space “locks in” only through your movement—how you turn, how fast you go, where you look. Eliasson describes VR as simply another studio tool now, but one that heightens awareness of mobility: you’re not escaping into a world so much as noticing how your body navigates it.

Here’s where it gets very NFT-relevant: Padimai records each visitor’s trajectory through the work.

Every session becomes its own file in a growing archive—a plural record of perception that treats the artwork as something that renders differently for each person. If NFTs introduced the idea of a public ledger for provenance, Padimai extends that logic to experience: not just “who owns what,” but “how was it encountered, and how did it unfold in time?”

Sundaresan’s way of getting there is also notable. Instead of using blockchain as a financial rail, he stripped it down. “I took blockchain software, stripped out the monetary parts, and used it as an archiving machine — a time-logging machine,” he explains. Think of it as onchain provenance for the viewing experience, built for longevity rather than liquidity. The artist can decide how (or whether) to incorporate that data into the work, but the archive remains—timestamped, persistent, and designed to outlast any single platform.

That’s a subtle but meaningful evolution of the NFT idea. The first era was about minting and marketplaces. Padimai is about cultural infrastructure: how you preserve works that depend on code, devices, and evolving formats—especially VR, where the “object” is inseparable from hardware, software, and interaction. Sundaresan describes his role as working at the boundary of the artwork: the artist makes the art, and he focuses on the technical housing—storage, access, durability, and what happens as technology ages.

Eliasson describes the collaboration as built on trust. “Honesty comes with a risk,” he says, and that risk creates the conditions for trust—an important reminder that the best NFT-adjacent projects aren’t just technical innovations, they’re relationship-driven. Even without fully understanding every technical layer, Eliasson recognized the intent.

Padimai’s setting reinforces the point. It’s located in Tanjong Pagar Distripark, an industrial zone that’s become a cultural hub—where storage, logistics, and exhibition live side by side. That’s basically the physical-world version of what digital art needs: not just display, but preservation systems that don’t collapse when platforms change.

And Singapore is a fitting place to test this model. It’s a society built on connectivity—smartphones and digital services mediate daily life, and digital literacy is widespread. People still ask, “What do I do with digital art?” Sundaresan says, but they’re excited to try. That matters, because digital art infrastructure only becomes “real” when it’s used by the public, not just talked about by insiders.

Sundaresan also addresses the sustainability question in a way that will sound familiar to anyone who has had the energy debate for the 100th time. Early blockchains were energy intensive, yes—but protocols evolved. The question now is about efficiency and whether the energy use is warranted. In Padimai’s case, the goal is lightweight persistence: he points out that blockchains can now be so lean that “two servers are enough.”

That last idea might be the most forward-looking NFT angle here. Instead of betting everything on a few giant platforms (marketplaces, social networks, private clouds), Padimai imagines many small, resilient cultural institutions running in parallel—independent nodes that preserve digital experiences outside private infrastructure. That’s web3’s decentralization thesis, applied not to finance, but to culture.

For NFT collectors, the takeaway is simple: the first wave proved digital art could be minted, owned, and traded. The next wave is about whether it can be commissioned, experienced, and preserved with the same confidence—without relying on a single company’s servers or a single platform’s incentives.

Padimai is one concrete attempt to answer that. It treats the viewer not as an afterthought, but as part of the work’s record—and it uses blockchain not for speculation, but for what it’s best at when you remove the casino: timestamped, durable, shared history.

If NFTs are going to mature into a true cultural medium, projects like this—where collectors become infrastructure builders—may end up being as important as any headline sale.

Read the full interview at Lampoon magazine.

Poll: Which future for NFT art feels most plausible?

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This week’s featured collector is MoneyMansi

MoneyMansi has a curious collection of wide range of NFTs. Lots of stuff we’ve never seen before. Check it out at lazy.com/mansi

Last week’s poll came back strongly optimistic: 78% of you said yes, this first generation of digital-native collectors will permanently move digital art into the art-world mainstream, while 22% said no. What’s interesting isn’t just the confidence—it’s the word permanently. That suggests many of you see this as more than a cycle of hype; you’re betting on infrastructure and habit change (screens at fairs, digital frames at home, onchain provenance, online-first discovery) becoming normal—whether or not “NFTs” stays the label the art world uses.

The Identity Crisis of NFT Art—and Why It’s Not Over

Isabelle Castro’s essay “The end of the beginning of NFT art” (in Utopia in Beta) is a useful read if you’ve felt the mood shift from 2021 mania to something quieter—and you’re trying to figure out what, if anything, actually changed in the art world because of NFTs.

She frames the current moment as an identity crisis: the wider art industry often treats NFTs as a punchline, even as the 2021 boom arguably did something lasting—pulling art buying and selling deeper into online culture, widening access for creators and collectors, and introducing a mainstream mechanism for authenticity and ownership in digital work. Castro opens with a scene from Art Basel Miami where Beeple’s robotic dogs “poop” paper NFTs that random onlookers can take home and claim online. It’s imperfect, she notes (you still have to be physically present and lucky), but it spotlights the contrast between a gatekept market where single works sell for millions and a model where witnessing can be rewarded—some of those NFTs later trading for tens of thousands.

From there, the piece zooms out into a short history that’s especially helpful for collectors who want more than the usual “NFTs started in 2021” timeline. Castro connects NFTs to earlier conceptual and computer art threads (think instructions-as-art and art-as-currency), then traces early on-chain experiments like Bitcoin’s embedded messages, Rhea Myers’s MYSOUL (2014), and Sarah Meyohas’s Bitchcoin (2015). She flags Kevin McCoy’s Quantum as a watershed: blockchain as a way for digital work to be widely shared while still being ownable with provenance.

One of the essay’s strongest sections is where she names the contradictions that collectors live with every day: prices of “blue chips” falling hard while crypto markets roar; artists who once rejected institutions now returning to them for auctions and promotion; mass accessibility existing alongside ultra-expensive drops; and the breakdown of creator royalties (she cites OpenSea dropping enforced royalties under fee pressure). She also offers a sharp lens on what replaced the old “aura” of originality: in NFT culture, reproducibility becomes an advantage, and “buzz” (likes, retweets, clout) becomes a form of consensus—until price intimacy starts to dominate everything.

Castro is at her most convincing when she gets specific about how NFTs expanded the map of who gets seen. She uses the example of Nigerian artist Osinachi, who made work in Microsoft Word at internet cafes and was dismissed by galleries—then found collectors by uploading NFTs to OpenSea, effectively routing around traditional gatekeepers. She also highlights how on-chain mechanics shaped new forms of art-making, like Pak’s Merge, where the smart contract rules and collective behavior become part of the artwork itself, and how collector DAOs attempted (with mixed results) to broaden participation and reduce curatorial blind spots.

But she doesn’t romanticize it. A recurring point is that gatekeeping didn’t disappear—it multiplied and shifted. Platforms that began open moved toward curation, allowlists, and invite systems (SuperRare is one example), which can improve quality and sales while also drifting away from the original “anyone, anywhere” promise. Her closing argument is basically: even if the hype doesn’t return, the medium may still be in its early chapters. Digital art has been legitimizing itself since the 1960s; NFTs added an immutable authenticity layer and a programmable substrate that can reflect networked interaction. The way forward, she suggests, is continued building—where critique takes the form of creation, and the infrastructure improves through collaboration between artists and technologists.

If you’ve been treating the post-2021 era as a comedown, this essay is a better frame: not the end, but the end of the beginning. It’s worth reading the original for the historical through-line, the concrete examples, and the way it holds both optimism and skepticism without slipping into either hype or dismissal.

Read the full article here:

Utopia in Beta

The end of the beginning of NFT art

Back from Miami Art Basel and part-way through my write up, I thought it was relevant to resurface an article I wrote for Digital Frontier a while back on the beginnings of NFT Art, based on the book “On NFTs” edited by artist Robert Alice. You can find the original article…

Read more

2 days ago · 2 likes · 1 comment · Isabelle Castro

Poll: Where do you land on NFT art right now?

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This week’s featured collector is Kanon

Kanon has a unique collection of CryptoPunk remixes, glitch art and more. Check it out at lazy.com/kanon

Last week’s poll made it pretty clear where your heads are at. When asked “What are you most excited about in the future of NFTs?”, a strong 60% of you chose Big Ideas over floor prices or institutional validation. Markets and value and Institutions and legacy both got 0%, which is striking given how much attention those usually get in headlines. Instead, the remaining votes went to Community and culture (20%) and I don’t know (20%), suggesting that even the undecided are more curious than cynical. In other words: this audience is here less for quick flips, and more for new ways of making, thinking, and building together.

The First Generation of Digital Art Collectors Makes an Impact

Digital art is finally starting to feel at home at Miami art week—and young, digitally native collectors are a big reason why.

While everyone is busy hunting for the next piece to flex on Instagram, screens are quietly stealing more attention on the fair floor. This year, one of the clearest signals came from booth C8 at CONTEXT Art Miami, where Miami-based platform Blackdove is presenting Code and Canvas: The Digital Art Genome—a curated showcase of moving-image, generative, and screen-based works that feels very familiar if you spend your time around NFTs.

Instead of treating digital art as an add-on, the booth leans all the way in: wall after wall of screens looping work from local and international artists, the kind of setup many of you already live with via digital frames and curated playlists at home.

Blackdove’s founder and CEO, Miami tech entrepreneur Marc Billings, described their mission simply: identify artists using new technologies with original voices, and help those voices reach a global audience. What’s changed, he says, is not the tech—but the collectors.

When they started showing digital works nine years ago, most of the conversation was about logistics: “How do I display this? What if the tech breaks? What am I actually buying?” Those questions often drowned out any discussion of the art itself. Fast forward to today, and it’s a different crowd. A younger generation, raised on screens, already understands the language of loops, glitches, and renders. They’re not shocked by the medium; they’re interested in the ideas.

That shift is obvious in the range of artists on view.

Take Kelly Boesch, who comes from abstract painting and graphic design. Her work blends classical references with contemporary digital craft, using AI as a tool to explore time, memory, and the heaviness of existence. Boesch is explicit about her stance: AI shouldn’t replace human creativity, it should amplify it. She sees it as a collaborator that opens up the creative process to more people—a sentiment that will resonate with anyone watching AI-native art emerge alongside NFTs.

Then there’s Yoshi Sodeoka, a Japanese-born artist who has been in New York since the ’90s. For this series, he used drones to track flocks of birds, mapping their flight into geometric patterns. Billings describes it as “using technology to understand nature,” and institutions seem to agree—Sodeoka’s work already sits in major collections like the Whitney Museum of American Art. It’s a reminder that digital practice isn’t new; it’s just finally lining up with collector behavior and infrastructure.

Irish artist Alan Bolton pushes in another direction: surreal, fluid digital worlds that feel like a 21st-century echo of Dali. His pieces build out hyper-detailed rooms, objects, and animals, often accompanied by titles like Anxiety, Internal Chaos, Group Think, and Delusion. The result is a kind of moving still life—emotionally charged, dreamlike, almost touchable. As Billings put it, it’s the still life tradition updated for motion and screens.

On the more cinematic side, Miami-based artist Roman (whose studio is in Wynwood) contributes a fourteen-minute loop titled Birth of an Angel. The work spans four connected screens, showing his wife—a former Russian ballerina—in slow motion, arms moving as paint drips over her body. Roman describes it as an exploration of light, creation, and “the quiet miracles carried by women” inside a glowing cross-shaped chamber. Billings doesn’t hold back in his response, calling it possibly the most remarkable digital artwork he’s seen.

For NFT collectors, none of this will feel entirely foreign. Generative systems, AI as collaborator, drones, motion loops, surreal 3D worlds—these are the same tools and aesthetics that underpin a lot of onchain work. What’s different is the setting: this is happening not just on NFT marketplaces and in Discords, but at physical fairs attended by more traditional and multi-format collectors.

That context connects directly to Art Basel Miami Beach, the flagship show of the week. Basel is leaning more intentionally into digital art this year, and Billings believes that matters. When a fair with Basel’s brand equity makes room for screens and software, it nudges the wider art ecosystem toward accepting digital media as a first-class category rather than a novelty or side bet.

For the first generation of digital art collectors—many of whom came in through NFTs—that’s both an opportunity and a responsibility. As Billings puts it, these collectors understand that they’re helping build the industry, not just shopping within it. The decisions they make now—what they acquire, how they display it, which artists they support—will shape how this moment is remembered.

Or, in his words: “We look at artists as the scribes of history.”

If that’s true, then digitally native collectors are the early editors—helping decide which stories get written into the record, and which ones stay as fleeting posts in an infinite feed.

Learn more at Refresh Miami.

Poll: Do you think this first generation of digital-native collectors will permanently move NFTs into the art-world mainstream?

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This week’s featured collector is MightyMoe

MightyMoe has a wild collection of pixel art and anime. Check it out at lazy.com/mightymoe

Last week’s poll was surprisingly split: 60% of you felt that books like Robert Alice’s On NFTs help legitimize collecting NFTs, while a substantial 40% weren’t convinced. That tension—between wanting scholarly validation and resisting the need for it at all—pretty much mirrors where the space is right now: half leaning into museums, books, and market reports, half preferring crypto’s more renegade, self-authenticating culture. It’s the same fault line running through Art Basel’s digital conversations this year: are NFTs becoming part of art history’s official record, or are they rewriting the rules from the outside?

Two Art Basel Conversations NFT Collectors Shouldn’t Ignore

Those of us who continue to collect NFTs have probably felt the shift: the conversation is no longer just about floor prices and flipping, but about context—how digital images are made, circulated, and eventually canonized. At Art Basel Miami Beach 2025, two conversations cut through the noise and speak directly to that deeper layer. Both take place next week and will be livestreamed, and together they sketch a useful map of where digital and blockchain-native art might be heading.

The first up is the Beeple conversation on Thursday, December 4, 2025, from 4–5 pm. On stage: Beeple, art advisor and curator Amanda Schmitt, Larva Labs cofounder Matt Hall, and moderator Natalie Stone, founder of StoneWork. The premise is straightforward but timely: from crypto memes to pixel punks, digital imagery has become both an art form and an asset class, and the logic of humor, virality, and speculation is now baked into how attention—and therefore value—is produced.

Beeple’s presence guarantees this won’t be an abstract panel. He’ll be creating a new “Everyday” live on stage, effectively exposing the process that underpins his now-famous daily images and headline-making NFT sales. Beyond the auction numbers, his practice blends satire, tech anxiety, and surreal world-building at a scale few digital artists have matched. For collectors, seeing how an “Everyday” comes into being in real time offers a glimpse into the workflows and instincts behind a body of work that helped push NFTs from niche experiment into mainstream awareness and institutional conversation.

Matt Hall brings a complementary, more infrastructural perspective. As cofounder of Larva Labs, he helped create CryptoPunks, Autoglyphs, and Meebits—projects that have become reference points in the history of blockchain-based art. CryptoPunks in particular evolved from a small experiment into a proto-PFP canon, absorbed into the collections of institutions like the Centre Pompidou, the Whitney, LACMA, ICA Miami, and ZKM Karlsruhe. Hearing Hall talk about how these projects were conceived, maintained, and ultimately embraced by museums is especially relevant if you’re thinking about which early onchain works might be read as “historical” ten years from now.

Schmitt and Stone supply the bridge between artists, collectors, and institutions. Schmitt’s advisory practice spans Modern, contemporary, and digital art, with a focus on access, institutional engagement, and strategic philanthropy, as well as cofounding CHAOS Agency for artists working at the art–tech intersection. Stone has worked on experimental programs in VR, AR, and AI at Google and previously stewarded one of the most influential digital art collections of the 21st century as general manager of CryptoPunks. Together they’re in a position to speak candidly about how memes and blockchain-native artworks are actually collected, evaluated, and integrated into broader collections, public and private. For NFT holders, this panel is essentially a one-hour snapshot of how the online economy of attention interfaces with advisory practices, institutional frameworks, and long-term collection strategy.

Two days later, on Saturday, December 6, 2025, also from 4–5 pm, a second conversation shifts the focus from memes and speculation to the visual grammar of the networked image itself. This panel brings together artists Maya Man, Kiya Tadele of Yatreda, and Jack Butcher, in conversation with Art Basel’s Head of Editorial, Dr. Jeni Fulton. Here the guiding question is how art is made for feeds, from formats, and through platforms—the actual conditions under which so much NFT-native imagery is produced and consumed.

Maya Man’s work operates inside browsers, timelines, and even wardrobes, but consistently returns to the question of how we perform identity under algorithmic scrutiny. Projects like the browser extension Glance Back and her Art Blocks series FAKE IT TILL YOU MAKE IT focus on femininity, authenticity, and self-presentation in systems that reward certain types of behavior and aesthetics. For collectors, her practice offers a conceptual lens on the culture of PFPs, online self-branding, and the “optimized” persona that often sits behind digital collections and communities.

Yatreda, led by Kiya Tadele, approaches digital art from a different but equally relevant angle. Their work is rooted in the Ethiopian concept of tizita—a deep nostalgia and longing for the past—combining folk tales, collective memory, and national history with blockchain-native formats. The result is a body of digital work that uses networked images to preserve and reinterpret heritage rather than to chase the latest meme cycle. If you’re thinking about NFTs not just as financial instruments but as carriers of cultural memory, Yatreda’s practice is an important counterpoint to the more market-driven parts of the space.

Jack Butcher, founder of Visualize Value, completes the picture from a market- and systems-oriented standpoint. His minimalist diagrams of markets, scarcity, and consensus have become instantly recognizable across social platforms, and his projects collectively have generated more than USD 1 billion in sales volume on Ethereum since 2021. Butcher treats visual systems as a way to make the structure of the digital economy visible, distilling complex ideas into simple forms that can move quickly through feeds while still retaining conceptual weight. For collectors, his trajectory is a case study in how visual clarity, narrative, and distribution strategy can crystallize into durable network value.

Under Fulton’s moderation, the panel is set to explore how artists navigate and resist algorithms; how file types, compression, and glitches become aesthetic choices; how distribution channels like Instagram, TikTok, and NFT marketplaces act as mediums rather than mere pipelines; and what it means ethically and creatively to mine, mirror, and remix online culture. These are not purely academic questions. They bear directly on how digital artworks age, how legible they’ll be outside their original platforms, and where the line is drawn between homage, appropriation, and exploitation.

Neither panel will tell you what to buy next week, and none of this should be taken as investment advice. But if you’re serious about collecting digital and blockchain-based art, it’s worth paying attention to the places where artists, technologists, advisors, and institutions are aligning—or disagreeing—about what this field is becoming. In that sense, these two Art Basel conversations offer something the market alone can’t: a chance to watch the narrative of NFTs being written in real time, in public, by many of the people shaping it.

Learn more at Art Basel. Both events will be livestreamed.

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