Text written within the framework of the article "On the Hypercentralization of Crypto Art" by Fanny Lakoubay including Layla Pizarro, Julián Brangold, Aura and Hypereikon.

The present moment can be characterized by extensive connectivity and a pervasive Western-centrism that directly influences the art that gains access to global platforms. In the local traditional art scene, one can encounter artists exploring ancient techniques and themes originating in South America. However, such work is liable to be perceived as “exotic” when viewed through the lens of traditional Global Northern institutions. Buenos Aires is home to a strong community of digital artists with decades of experience in creative coding and a willingness to share their knowledge, opportunities, and resources. However, this community faces challenges due to the lack of specialized galleries and curators and minimal recognition from public or private cultural institutions.

The traditional art scene tends to take notice of digital art only when there is a fear of losing privileges to the NFT market or a need to protect intellectual property against current developments in AI.


Digital artists are often subjected to superficial inquiries about their work along with low-budget events. At the same time, traditional art institutions tend to show interest in digital culture only to secure international funding for projects where the benefits go primarily to them rather than to the digital art community. Buenos Aires has a long tradition of artists working with technology, including video artists in the 1990s, but they have not been inclined to share their knowledge until now.

There are numerous academic institutions and independent organizations offering digital art programs here, the presence of galleries and institutions dedicated solely to digital art is limited. Buenos Aires may be renowned for its independent artists in theater, music, and literature, but many projects still struggle to secure funding and maintain long-term sustainability. What we need now are local medium-sized and large-scale projects operating under stable conditions. The burgeoning community of young digital artists as well as the “OGs” are well-prepared to collaborate with international collectors, galleries, and researchers. That is now of the utmost importance.

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