In conversation with Kevin McCoy for SLEEK
What happened to NFTs?
AM When we first met a few years ago, I told you that you had changed my life, and I was not happy about it. (laughs) Because suddenly, being a curator in digital art became tied to the expectation of selling work. Curation was no longer primarily about creating context, but increasingly about selecting artists who performed well in the market.
KMC We saw those dynamics play out: curation becoming tied to sales and digital art becoming increasingly centred around ownership and wallets. To go back to Vuk Ćosić’s conversation with you, one of the key figures of the 1990s
net.art movement, he said: we had the browser, NFTs got the wallet. He meant it critically, in the sense that the artwork became reduced to the wallet. And that is true.
As an artist, especially in that early Ethereum moment, producing work that ultimately ended up in a wallet did not feel great. It did not feel like making work had felt before. When you make work for a gallery exhibition, people experience it together. There is a social dimension and a physical presence to it. Doing a drop on a platform and having the work end up in people’s wallets was not the same experience.