Works Overview

Reference page. Facts come from the harm.work sitemap (scraped 2026-03-24), sources/images-wiki.json and harm.work as checked in November 2026. Each entry links to harm.work and to the wiki page that discusses the work; readings of the works live on those pages.

2004–2010: software, websites, video

Markov's Window (2004) is the earliest catalogued work: a Macromedia Flash animation in which squares subdivide recursively and probabilistic rules decide colour changes and rotations (about page). It is named after the mathematician Andrey Markov, whose chains make the next state depend only on the present one. The Stedelijk Museum Amsterdam showed it in Stedelijk Base (2020) and acquired it. Its palette, pure blue, green and magenta with a black-to-white gradient, returns in Markov's Dream (2022), Markov's Window 2023 and Stained Unravel (→ Markov's Dream Palette).

Markov's Dream, token 21 — *Markov's Dream* (2022), token 21, animated token, still

One of the 32 nested tokens of Markov's Dream, in which the squares of 2004 have become rounded forms: two brown rounded panels on a grey ground, with green, red, pink and blue cells inside them.

Revenant Series (2006–07): the videos Resurrection (i)–(vii) and Sleepwalker (i)–(iii). Animal Configurations (2007): Bison, Ostriches, Death Roll, Gaussian Goat, Dogggie.

Ethereal Self & Others (2008): two websites, Ethereal Self .com and Ethereal Others .com, and Ethereal Others (When No One is Looking), which note 854 presents as a video and harm.work lists as software. In the vault that note links to 876, On recursion.

A browser window showing a faceted, gem-like solid textured with fragments of a face.

A browser window tiled with webcam portraits of visitors.

*Ethereal Others (When No One is Looking)* (2008), video still

A dark office: an empty chair and a computer in front of a window onto the building opposite.

Club Internet (2008), the online group-show platform he founded. Codec Breeze (2008), video works built on compression artefacts (→ Codec Breeze).

Diagonal Enlargements (2009): found low-resolution images enlarged with a diagonal enlarger algorithm he wrote. Panda and Pizza are 50 × 50 pixel GIFs enlarged a hundredfold to 5000 × 5000; Rug (60 × 96 pixels) is enlarged sixfold, then four times more with a nearest-neighbour enlarger.

Three framed collages of cut paper and spray paint with fragments of foliage, sky and rock — *Redux (1)–(3)* (2009), paper, plastic, spray paint, 100 × 70 cm each

Redux (1)–(3) (2009) were cut by hand from the posters for King Kong (2005), The Lost World: Jurassic Park (1997) and Cloverfield (2008); harm.work lists them in Free (New Museum, New York, 2010). In the installation view, filed in the are.na channel 2005 - 2009, no figure or title from the posters is legible: foliage, sky, rock and cut ellipses over a pale ground. They are hand-cut objects made from printed images two years before the first assemblages.

Dissociations .com (2010–), the online studio on which this wiki now sits (→ About).

Strategies (2010/2011): an animation made for a group exhibition at MACRO, Rome, curated by Valentina Tanni; the show's title, Maps & Legends, is recorded only in the vault's transcript. The harm.work text (by Ché Zara Blomfield) calls it "a sequel to Showreel" that combines screenshots and found footage with "rewritten phrases of advice given by business experts, martial arts gurus, software developers and Jacques Derrida", over a track he made in 2002 (→ 3004, Strategies). The Four Master Tropes (2011) is a video collage of reordered Kindle highlights from the same period (→ The Four Master Tropes).

2011–2015: assemblages, collages, wall works

The Assemblages (2011–2018) are suspended, roughly spherical sculptures assembled from hand-cut strips of transparent sheet printed with images: Assemblage (shell) and (canvas) (2011), (chain) (2012), (everything vs. anything) (2013), (About) and (new) (2018). The first were shown in About (Wilkinson Gallery, London, 2012); Assemblage (About) was in I Was Raised on the Internet (MCA Chicago, 2018) (→ Assemblage Identity, Sculpture).

Assemblage (everything vs. anything) (2013) prints a watermarked Dreamstime stock photo of mannequins behind cracked shop glass (1287) on curved strips, with the blue protective foil left on. It is UV-printed on PET-G (1301; confirmed by the artist, November 2026), 120 × 100 × 110 cm in the notes (1290); a former harm.work entry gave acrylic glass, 110 × 110 cm. The work is no longer on harm.work. 1301 tells how it came about, from the kicked-in windows of a Commerzbank branch at Kottbusser Tor (→ Mediation and the Archive).

Zeuchnungen (c. 2012): digital collages made as posts for dissociations.com from scanned paintings and drawings (→ Zeuchnungen).

Release early, release often, delegate everything you can, be open to the point of promiscuity (Abrons Arts Center, New York, 19 April – 7 June 2013) was his first solo exhibition in the United States, organised by Karen Archey: spherical Perspex sculptures, web works and collages, installed "associatively rather than by medium or chronology" (press release). The title comes from Eric S. Raymond's description of Linus Torvalds's working style in The Cathedral and the Bazaar (1997). Note 1035 is the draft checklist; it names "the curatorial premise of recursion and self-referentiality" and marks two assemblages "I'd prob rather not show it" (→ Release Early, Release Often, Openness).

Deli Near .Info (2014), "Dissociations for everyone", a social network. The Delinear Whiteboards (2015) are UV prints on whiteboard with custom magnets, titled in scrum-kanban terms: Time Management, Trauma, Inclusion, Oyster, Aureool. Just-in-Time (American Medium, Brooklyn, 2015) showed Time Management, Oyster and Aureool with Chrysalis (green) and (mint) from the Chrysalis Sculptures (2015) and Deli Near .Info (→ Just-in-Time).

Loomer (Young Projects, West Hollywood, opening 23 January 2015) was his first solo show in Los Angeles: poster collages never materialised before, with sculptures and animations. Its press release is written in the first person and says "What the work is about, runs ahead of myself" (3003, → Loomer).

Event Listeners (2015) is a macOS screensaver in an edition of 100. In April 2015 the MAK Vienna bought 20 editions for Bitcoin through Cointemporary, a purchase the MAK and Tina Rivers Ryan (Spike #70) describe as the first museum acquisition of a tokenised work. It led to left gallery (2015 – March 2022), the online gallery for downloadable objects he co-founded and ran with Paloma Rodríguez Carrington. He also took part in the Vienna Biennale (MAK, 2015).

IOU (Narrative Projects, London, 10–19 November 2015) showed ten wall works of thermopaper mounted on canvas, 80 × 120 cm, made in 2014–15: Leucocyte, Sonogram, Bacteria, Fastener, Pin, Ant, Nail, Agent, Bottle Cork, Instrumentation (→ IOU).

2016–2022: genetic algorithms, prints, tokens

Death Imitates Language (2016–2021) breeds "software organisms" by genetic algorithm. Its online genealogy "contains an enormous population of speculative works", and specimens judged to have reached their optimal state are "frozen" as layered wall objects: Vuwtvvyft Zcuviey Dayssuck and Shtonk Vtejuwoh Bonifac (2016), Big Pablo Ferenc Zatlas (2021). The first were shown in Wer nicht denken will, fliegt raus (Museum Kurhaus Kleve, 2016). How the three-word names are made is discussed on Death Imitates Language.

*Vuwtvvyft Zcuviey Dayssuck* (2016), wall object, 100 × 100 × 2 cm

A square of layered, partly transparent panels: a pale green field, a grey blur, rows of short black bars.

Autobreeder (2016) is fullscreen macOS software that "autosurfs the massive genealogy" of the project, its population "bred by a genetic algorithm, and selected by micro-feedback of the artist offline"; it takes no input.

Specimens from the genealogy on a maroon ground, each labelled with its name.

Algues Artificielles (2016–2022) began in the summer of 2016 with code simulating seaweed washed up on a beach in Brittany (series statement). It comprises UltraChrome prints (Bemused Aversatility, 2018; Umbilical Dramatoxin, Defenseless Qualm, 2020), the software Algues Artificielles (2017) and the website Hybrid Vigor .bio (2017), which uses "the internet visitor as the fitness function" (→ Algues Artificielles).

*Bemused Aversatility* (2018), print, 80 × 65 cm

A framed print: black and grey biomorphic shapes under an arc of acid green.

Nested Exchange (works 2017–2019; Protorb is a 2022 remaster). On harm.work the specimens "find their form by a process of information exchange with each other", and "each specimen is driven to be as different as it can be from those around it (I've also called this my 'hipster algorithm')". Titles include W. D. Sensualist, C. C. Rashes, Lammer Asbestos and Fissured Petrolling Mridangam. The series was shown in Pattern & Presence (Upstream Gallery, Amsterdam, 2018), Proof of Work (Schinkel Pavillon, Berlin, 2018) and Vertiginous Data (MMCA, Seoul, 2019) (→ Evolutionary Logic).

A grid of repeated modules in orange, lilac and blue over a pale circle.

Automated Drawings (2017–2022): pen and pencil plotter drawings such as Metaballs and Untitled Flower (2017), Uttered Modality and Diaphragm (2018) and Typographic Trace (2022) (→ Early Plotter Drawings). Lexachast (2016–17): live visuals and a website with Bill Kouligas and Amnesia Scanner (→ Lexachast).

Another Bag (2019), from the Bags series, is made of hand-cut brown paper bags "based on the work 'Constellations' by Jean Arp from 1938"; it was shown in Notes on Objects (Narrative Projects, London, 2019). The vault also contains Jean Arp's Untitled (Collage with Squares Arranged according to the Laws of Chance) (1916–17) as 821 (→ Randomness and Pattern).

A brown paper bag on a white plinth, its front cut through with rounded, Arp-like openings.

Mutant Garden (2019–) breeds images with Cartesian genetic programming, which he took up in 2019. The website Mutant .garden (2020) is "a website where users can live breed and mutate specimen"; the exhibition Mutant Garden opened at Upstream Gallery, Amsterdam, in 2021. Mutant Garden Autobreeder (2021): "Dimensions variable, duration infinite, silent." Mutant Garden Seeder (2021): 512+1 Ethereum tokens released with Folia. Brian Droitcour writes that collectors "bypassed the interface to mint directly from the contract" (Beautiful Rules, 2025) (→ Evolutionary Logic, Protocol, Taste, and Systems, the Miller interview).

*Mutant Garden Autobreeder* (2021), generative software, installation view

A row of three wall-mounted screens filled with green and blue specimens, their cables hanging to the floor.

*Mutant Garden Seeder* (2021), generative token

A specimen of nested squares and rounded cells in greens and violet inside a large rounded square.

Mutant Garden works were shown in BioMedia (ZKM, Karlsruhe, 2021) and The Painter's New Tools (Nahmad Contemporary, 2022), and with Achraf Touloub in Context Switch (Galerie Noah Klink, Berlin, 2022) (→ Context Switch). In 2021 three works entered the collection of the V&A, London. For Chemsex Benelux (2022) he made Phantom Crush (series 2022, deployed 2023), 130 generative portraits after pastel drawings by Enver Hadzijaj, and Indiscreet Units, hue-rotating flags.

2023–2026: metallic exposures, plotter drawings, on-chain works

Our Inner Child (Upstream Gallery, Amsterdam, 2023) showed the Resolution Paintings (2023), from 85 × 85 cm to 150 × 150 cm measured diagonally. Most are metallic photographic exposures; Altibzz and Pivot are UltraChrome HD prints on Canson paper. Altibzz is named after an Autechre track. Recursive Intervention (2023), in the same show, is "a ready-made mirroring inflatable, causing the space to contain a compressed version of itself" (→ Our Inner Child, Recursion).

Token editions of 2023–24: Field (2023), an on-chain remake of a 2008 Flash animation (→ Field); Maschine (2023), with Fingerprints DAO and Mercedes-Benz NXT; Venster (2024), 100 generative, on-chain animated SVGs released with Bright Moments (→ Venster).

Struggle for Pleasure (Verse SOLOS, London, 2024) showed four photographic exposures from Swallow, Only Shallow (2024), Person in a Field, Vortex, A Vale of Tears and Creation of Light, each 100 × 100 cm, with two NFT collections. The series title joins two song titles by My Bloody Valentine, "Swallow" and "Only Shallow" (→ Struggle for Pleasure).

Angles Morts (LOHAUS SOMINSKY, Munich, 2024) was a two-person show with Vera Molnár (1924–2023) and the premiere of Cloud Writings. It included two generative animations: Pression des pairs (2024), after Molnár's Quatre éléments distribués au hasard (1959), which harm.work describes as "a combination of a cellular automata and a Markov chain", and Anni (2024), after Anni Albers. Also shown: the pencil drawing Kapitulation (2024) and the plotter drawings Interpolation I–IV on millimetre paper (→ Angles Morts; the rules of Pression des pairs are measured on Interruptions).

*Pression des pairs* (2024), generative animation, still

Short line segments in yellow, pink, green, white and black on grey, turned vertical or diagonal cell by cell.

Cloud Writings (2024–): plotter drawings on Hahnemühle, Terschelling, Fabriano and watercolour paper, titled Helmgras, Breeze, Shroud, Valley, Atlas, Hail, Drift, Mold and so on. Several use probability as a function of position. Atlas: "The probability of downward diagonal streams increases towards the bottom side of the drawing, creating the impression of curvature, as if hovering a planet." Valley and Poles: "Probabilities transition gradually based on the coordinates within the canvas (x/y)." The Embroidery text gives the medium: "Unlike a digital printer, a plotter moves around the drawing area in all directions, lifting and releasing its pen to draw lines." Plotter drawings run through the practice from 2017; Atlas and other sheets use the rotating-line algorithm of Pression des pairs (→ The Grid, Cloud Writings).

Diagonal streams of short red, yellow and grey strokes across the sheet.

Atlas, detail — *Atlas* (2024), plotter drawing on Hahnemühle paper, 84.1 × 59.4 cm, detail

Close up, the field is made of small strokes in blue-violet, salmon and black that gather into streams.

*Valley* (2024), Sakura fineliner on Terschelling paper, 60 × 47 cm

Streams of pastel strokes converge from both sides toward the bottom centre of the sheet.

Anicca (2025): two tokens of an eventual eight "two-phase animations, inspired by Buddhist sand drawings". He calls it his first attempt to construct a mandala algorithmically, taken further in Quantizer (Murayama Q&A, → Mandala Q&A). Quantizer (Verse SOLOS, 2025): 256 Ethereum tokens; every twelve seconds a new composition is seeded from the latest block hash (→ Quantizer).

Cloud Writings (Takuro Someya Contemporary Art, Tokyo, 2026) was his first solo exhibition at TSCA, after the 2022 group show Okazaki, Sakamoto, van den Dorpel, Murayama there. It showed plotter drawings including Nethermind (2025), drawn from a Quantizer output, and Beads, Beads II and Beads III (2025): "Hand-coloured plotter drawing, based on the work Anni. The word 'bead' derives from Old English gebed, originally meaning 'prayer'." Anni (sync) (2026) is "installed across 1 to 6 screens, each rendering the same work at an increasing level of resolution or granularity". Anni (unravel) (2025) "begins in a pristine crystalline state—uniform diagonals, stable configurations—and deteriorates over time. The cellular automaton no longer constructs but corrupts." (→ Cloud Writings, Meditative Labour).

Beads II, detail — *Beads II* (2025), ink and pencil on watercolour paper, 59 × 84 cm, detail

The plotted grid of triangles, filled by hand in graphite black and red pencil, forms zigzag paths.

Anni (sync), installation view — *Anni (sync)* (2026), generative software, installation view, Takuro Someya Contemporary Art, Tokyo

Four screens on the right wall show the same triangle grid at four resolutions, coarse to fine; two drawings hang on the left wall.

Senescenence (Nguyen Wahed in collaboration with Interface Gallery, New York, 3 April – 2 May 2026) showed Stained Unravel, seven on-chain cellular-automaton tokens and a Museum Proof, with plotter drawings of its states (→ Senescenence, Stained Unravel). The Museum Proof, Blockade, was shown beside Herbert W. Franke in Vectors (Various Others, Apple Munich, 14–24 May 2026) (→ Vectors).

Interruptions (2026): five on-chain tokens after Molnár's Interruptions; the first, Peer Pressure, translates Pression des pairs (→ Interruptions). Judgment and Calculation – Three Systems of Colour (frontviews at HAUNT, Berlin, 11 July – 22 August 2026), with Elisabeth Sonneck and Carsten Becker, curated by Qin Yan (→ Judgment and Calculation). Entfaltung (2026): 36 on-chain tokens and hand-coloured plotter drawings after the pendulum drawings of Emma Kunz; the contract was deployed on 5 October 2026 (→ Entfaltung).

Selected institutional exhibitions

Free, New Museum, New York (2010)
About, Wilkinson Gallery, London (2012, solo)
Release early, release often…, Abrons Arts Center, New York (2013, solo)
Vienna Biennale, MAK, Vienna (2015)
Wer nicht denken will, fliegt raus, Museum Kurhaus Kleve (2016)
Proof of Work, Schinkel Pavillon, Berlin (2018)
I Was Raised on the Internet, MCA Chicago (2018)
E-State Realisms, Oolite Arts, Miami Beach (2018)
Vertiginous Data, MMCA, Seoul (2019)
left gallery: rite of access, Stroom Den Haag (2019)
Stedelijk Base, Stedelijk Museum Amsterdam (2020; Markov's Window in the collection)
BioMedia, ZKM, Karlsruhe (2021)
Systems of Belief, Halle für Kunst Steiermark, Graz (2022)
The Painter's New Tools, Nahmad Contemporary (2022)
Collection: V&A, London (three works, 2021)