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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