The second Miami edition of Zero 10, Art Basel’s global initiative for art of the digital era, is titled ‘Generation’. The word alludes to creative production in general, to generative art – a key strand of contemporary digital works – in particular, as well as to a new generation of artists who are exploring the possibilities of art and technology today. It also captures the spirit and growth of Zero 10 as a platform. Having completed its first cycle at Art Basel’s fairs in Hong Kong and Basel in 2026, it is returning to Miami, after its launch in the city last year, with 19 projects presented by 21 galleries – its largest iteration to date. This new cycle of Zero 10 presentations is also marked by the appointment of Nicole Sales Giles as the initiative’s first global head. Sales Giles, who joined Art Basel in September 2026, plans to deepen engagement with artists, galleries, studios, collectors, and institutions.

Since Zero 10 was launched, digital art has become a more mainstream part of private collections. According to The Art Basel and UBS Survey of Global Collecting 2026, 9% of the collections belonging to the high-net-worth collectors surveyed were made up of digital works and 54% had at least one digital artwork in their collection. Digital art has also shown itself to be an important gateway for young people entering the field: The report shows that Gen Z respondents were the most likely to have started their collections with a digital work, with 7% saying a digital work was their very first purchase and 17% saying a digital work was in their first three acquisitions.

Organized by Karen Archey, the head of the curatorial department at Kunstsammlung Nordrhein-Westfalen in Düsseldorf, Germany, alongside the independent curator and digital art strategist Eli Scheinman, the 2026 Miami edition of Zero 10 includes a range of media from generative and algorithmic processes to immersive and experiential environments, to painting, sculpture, textiles, and moving image works. It also showcases some of the most significant artists exploring the digital age today.

Jon Rafman will exhibit two dystopian videos on the subjects of surveillance and truth with Sprüth Magers. Report a Concern: The Cleaners and Report a Concern: Oak Run, Central Shasta, California, USA (both 2025) bring to life one of Rafman’s most celebrated series Nine Eyes of Google Street View (2008-present), for which the artist trawls imagery captured by Google’s camera-rigged vehicles that have photographed almost every street on earth. For these new works, Rafman uses generative video software to animate Street View photographs into disquieting stories that he has invented in an attempt to show the reigning importance of human perspective in the age of artificial intelligence.

Refik Anadol, another mainstay of the digital art scene, will show his landmark installation Winds of Yawanawá (2023), with HOFA Gallery and the hospitality brand Scorpios. Made in collaboration with the Yawanawá Indigenous communities of the Brazilian Amazon, the presentation includes a monumental generative animation that visualizes data from ancestral iconography, temperature patterns, the wind, and sacred visual languages, shown alongside original drawings and paintings made by the community. The work combines cutting edge technology with ancestral, nature-led wisdom.

Some of the new-generation artists on show in Zero 10 include Evil Biscuit, presented by de Sarthe and Nguyen Wahed, and Luke Shannon with Louise Alexander Gallery. The pseudonymous artist Evil Biscuit (b. 1996) explores digital collecting cultures and the evolution of images circulating through online spaces – in Miami he will present a new body of commissioned paintings and trading cards, inspired by gaming, memes, and NFTs, created in collaboration with the Los Angeles-based artist Parker Ito.

Generative artist Shannon (b. 2000) will present two interactive installations For You and Attention Is All You Need (both 2026) that explore the algorithms on our phones and how they represent us. In For You, fair-goers are invited to offer up their own phones to participate in the work with their algorithms steered toward a distinct category – such as health or dating – using a cybernetic feedback loop between the phone, a camera, and a scrolling device. This performative piece plays with the dichotomies of privacy and exposure, empowerment and control.

As with the inaugural Zero 10 in Miami, this year’s edition features several other interactive works. Two such installations by DRIFT will be shown by TAEX: In Murmuring Minds (2024), 60 autonomously-moving rectangular blocks act like a swarm reacting to participants’ movements around a platform, while in Coded Nature (2026) digital shapes on a five-meter-long screen respond to visitors’ movements. The vast installations mimic movements found in nature such as the murmuration of birds but also evoke feelings of surveillance and control.

This year, the Institute for Studies on Latin American Art (ISLAA) will show archival material from ‘Arte y Cibernética’, a groundbreaking exhibition first staged well over 50 years ago that brought together work by artists experimenting with technologies that, at the time, were largely confined to scientific and corporate environments. The show debuted at Galería Bonino in Buenos Aires in 1969 and over the course of the next five years traveled to cities across Europe and the Americas. ISLAA’s presentation at Zero 10 will include photographs, catalogs, press materials, and a film documenting the original exhibition. This special collaboration with the New York institution will add an important layer of art historical context and insight to Zero 10.