Casey Reas, Earthly Delights 2.1, Custom software (color,silent) (two-minute capture from generative software/video), 2019
Casey Reas, Untitled Film Still 2.14, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.4, C-Print 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.3, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.8, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.6, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.10, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.17, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.9, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.5, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.11, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.15, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.1, C-Print, 30 cm x 30 cm, 2019
Casey Reas, Untitled Film Still 2.16, C-Print, 30 cm x 30 cm, 2019
Casey Reas, ToxScreen-0000020010, print, 69 cm x 122 cm, 2014
Casey Reas, Signal To Noise (Software 5), software (capture), 2013
Casey Reas, Network C, software, size varies, 2012
Casey Reas, Network C, C-print on dibond, 80 cm x 40 cm, 2012
Casey Reas, YesNo (group 1), series of 4 C-prints on dibond, 40 cm x 40 cm each, 2012
Casey Reas, Network D (image 1), c-print on dibond, 80 cm x 160 cm, 2012
Casey Reas, Process 18 Image B3/4, C-print on aluminium, Diptych, je 45 cm x 30 cm, 2010
Casey Reas, Process 18 Image A1/2, C-print on aluminium, Diptych, je 45 cm x 30 cm, 2010
Casey Reas, Process 17 A from "Compendium 2004-2010", C-print on dibond, 50 cm x 50 cm, 2010
Casey Reas, Process 18 A from "Compendium 2004-2010", C-print on dibond, 50 cm x 50 cm, 2010
Casey Reas, Process 13 A from "Compendium 2004-2010", C-print on dibond, 50 cm x 50 cm, 2010
Casey Reas, Network D (image 2), C-print on dibond, 80 cm x 160 cm, 2012
Casey Reas, TI, software, computer, projector, discs, 2004
Casey Reas, Path- Software 1, 2001-2014, custom software, computer, screen (three-minute capture), 2004


Casey REAS (a k a Casey Edwin Barker Reas, C. E. B. Reas) Born 1972 in Troy, Ohio. Lives and works in Los Angeles.

Casey Reas writes software to explore conditional systems as art. Through defining emergent networks and layered instructions, he has defined a unique area of visual experience that builds upon concrete art, conceptual art, experimental animation, and drawing. While dynamic, generative software remains his core medium, work in variable media including prints, objects, installations, and performances materialize from his visual systems.

Reas’ software, prints, and installations have been featured in over one hundred solo and group exhibitions at museums and galleries in the United States, Europe, and Asia. Recent venues include the San Francisco Museum of Modern Art and the Art Institute of Chicago, and recent commissions have been awarded by the Whitney Museum of American Art and the New World Symphony in Miami. Reas’ work is in a range of private and public collections, including the Centre Georges Pompidou and the Victoria and Albert Museum.

Reas is a professor at the University of California, Los Angeles. He holds a masters degree from the Massachusetts Institute of Technology in Media Arts and Sciences as well as a bachelors degree from the School of Design, Architecture, Art, and Planning at the University of Cincinnati. With Ben Fry, Reas initiated Processing in 2001. Processing is an open source programming language and environment for the visual arts.

Reas recently co-wrote and designed the book 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 (MIT Press, 2013). Reas and Fry published Processing: A Programming Handbook for Visual Designers and Artists, a comprehensive introduction to programming within the context of visual media (MIT Press, 2007). With Chandler McWilliams and Lust, Reas published Form+Code in Design, Art, and Architecture (Princeton Architectural Press, 2010), a non-technical introduction to the history, theory, and practice of software in the visual arts. Reas’ Process Compendium 2004—2010 documents six years of his work exploring the phenomena of emergence through software.

Born in 1972 in Troy, Ohio. Casey Reas lives and works in Los Angeles, California.

Compressed Cinema, DAM GALLERY Berlin
Software Structures, Artport Whitney Museum of American Art, New York, USA
There’s No Distance, bitforms gallery, New York, USA
Tox Screen, Chronus Art Center, Shanghai, China
Linear Perspective, Charlie James Gallery, Los Angeles, CA
Yes No, Pasadena City College, Pasadena, California, US
ULTRACONCENTRATED, bitforms gallery, New York
Century, DAM GALLERY Berlin, Germany
Process, BCA Center, Burlington, Vermont
Think, IBM THINK at Lincoln Center, New York
Compendium 2004-2010, DAM GALLERY Berlin, Germany
CODE and FORM: C.E.B. Reas & Marius Watz, Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania
Transfers and Actions: C.E.B. Reas and Ellie Harrison, Mejan Labs, Royal Academy of Fine Arts, Stockholm, Sweden
Process / Form, bitforms gallery, New York
The Protean Image, TAG<>, The Hague, Netherlands
C.E.B. Reas and Suzung Kim, bitforms gallery, Seoul, South Korea
Natural, BANK Gallery, Los Angeles, California
Process / Drawing 2, DAM GALLERY Berlin, Germany
Process / Drawing, bitforms gallery, New York
TI, Telic Arts Exchange, Los Angeles, California
MicroImage, Art Brussels, Brussels, Belgium
Articulate, DAM GALLERY Berlin, Germany
Casey Reas / Golan Levin, bitforms gallery, New York

Immaterial/Re-material: A Brief History of Computing Art. UCCA Center for Contemporary Art. Beijing, China
GANLand, DAM Gallery. Berlin
Print Screen Unseen. The Israeli Center for Digital Art. Holon, Israel
What a Wonderful World. La Fondazione Palazzo Magnani Reggio Emilia. Reggio Emilia
Super Mosaic. Lei Shing Hong Art Center. Beijing, China
Illusionary Nature. Museum Sinclair-Haus. Bad Homburg vor der Höhe
Augmenting Creativity. Nanjing University. Nanjing, China
With A Little Help From My Friends. Charlie James Gallery. Los Angeles, CA
Latent See. Anteism. Montreal, Canada
Automat und Mensch. Kate Vass Galerie. Zürich, Switzerland
Sim-Cinema. WEVR. Los Angeles, CA
New Technologies, New Visions. Los Angeles Art Book Fair, Los Angeles Museum of Contemporary Art (MOCA.) Los Angeles, CA
bitforms gallery LA. ROW DTLA. Los Angeles, CA
Chance and Control: Art in the Age of Computers, Victoria and Albert Museum, London, UK
Coding the World, Mutations/Créations #2, Centre Pompidou, Paris, France
MIS (MISSING) INFORMATION, Charlie James Gallery, Los Angeles, USA
Summer Splash 4, DAM GALLERY Berlin, Germany
Watch Your Bubble, Galerie Nord – Kunstverein Tiergarten, Berlin, Germany
DATAstream, Miles C. Horton Jr. Gallery, Blacksburg, Virginia
CODE and NOISE, El Museo Cultural De Santa Fe, Santa Fe, Mexico
DIGITRA, Treviso Ricerca Arte, Treviso, Italy
CODE + POETRY, DAM Gallery Berlin, Germany
Day for Night, Silver Street Studios, Houston, Texas
Short Cuts, CentrePasquArt, Biel, Switzerland
Istanbul Light Festival, Zorlu Center, Istanbul, Turkey
The Dematerialized Auction: A Fluxus Fundraiser for George, New York
AESTHETICA, DAM Gallery Berlin, Germany
ARTMIX, Boulder Museum of Contemporary Art, Boulder, Colorado, US
NYC Makers: The MAD Biennial, Museum of Arts and Design, New York, NY (a collaboration with Aranda\Lasch)
EXEMPLARY, 150 years of the MAK, From Arts and Crafts to Design, MAK, Vienna, Austria
Summer Splash 3, DAM GALLERY Berlin, Germany
//the ART_of_DATA, Boulder Museum of Contemporary Art, Boulder, Colorado, USA
Coding the Body, apex art, New York, US (Collaboration with Cait Reas)
Presentism: Light as Material, Young Projects, Los Angeles,  California, USA
Shifting Paradigms of Identity, Kent State University Museum, Kent, Ohio
Autonomous, Gallery@Calit2, University of California, San Diego, La Jolla, California
ArchiLab, FRAC Centre, Orléans, France
Poetic Mathematical Rhymes, Boston Cyberarts Gallery, Boston, Massachiusetts
void loop, Antenna Gallery, New Orleans, Louisiana
//the_ART_of_DATA, The Resnick Gallery, Aspen, Colorado
A New Sculpturalism, Museum of Contemporary Art, Los Angeles, California
Run Computer Run: Examining Aesthetics, Rua Red, Dublin, Ireland
Click, Helsingør, Denmark
Back to Back, DAM GALLERY Frankfurt, Germany
Decenter, Abrons Art Center, New York
Poetic Codings, Fellows of Contemporary Art, Los Angeles and Boston Cyberarts Gallery,
Infinity +1, part 1, Arena 1 Gallery, Santa Monica, California
AI Plus, National Taiwan Museum of Fine Arts, Taiwan
Microwave International Media Art Festival, Hong Kong, China
Field Conditions, San Francisco Museum of Modern Art, San Francisco, California
Multiversités Créatives, Centre Georges Pompidou, Paris, France
World on a Wire, bitforms gallery, New York
Rethinking Typologies, The Art Institute of Chicago, Chicago, Illinois
Random Access: Data as Art, Montserrat Gallery, Montserrat College of Art, Beverly, California
The Creators Project, Fort Mason, San Francisco, California
Codings, The Pace Digital Gallery, New York
Expect Big Delay, 405 Freeway, Los Angeles, California
Think Line 2, DAM GALLERY Berlin, Germany
Seeing/Knowing, Graham Gund Gallery, Kenyon College, Gambier, USA
Deep Surface, CAM Raleigh, Raleigh, USA
Ornamental Structures, Stadtgalerie Saarbrücken, Saarbrücken, Germany
File Type, Gallery 400, Chicago, Illinois
Hyperlinks: Architecture and Design, Art Institute of Chicago, Illinois
Quotidian Architectures, 12th International Architecture Exhibition, La Biennale di Venezia, Hong Kong Pavillion, Venice, Italy
Machinic Processes, Architecture Biennial Beijing 2010, Beijing, China
Swarm Intelligence: Architectures of Multi-Agent Systems, University of Hong Kong, Faculty of Architecture, Shanghai Study Centre, Shanghai, China
Immuring, SCI-Arc Gallery, Los Angeles, California
E-volve, DAM GALLERY Cologne, Germany
When Process Becomes Paradigm, LABoral, Gijon, Spain
Code: Craft, Millenium Gallery, Sheffield, UK
Decode: Digital Design Sensations, Victoria & Albert Museum, Porter Gallery, London, UK (afterwards: Museum of CAFA, Beijing; The Garage Center for Contemporary Culture, Moskow; Design Museum Holon, Israel)
Vida_Orige, Museu del Montsià, Amposta, Spain
Collider: Interactivity and New Media, Emily Davis Gallery, Myers School of Art, Akron, USA
OPEN, Gray Area Foundation for the Arts, San Francisco, California, CreateHere, Chattanooga, US
Art and Electronic Media, bitforms gallery, New York
Incognito 2009, Santa Monica Museum of Art, Santa Monica, California
Loops, MIT Museum, Cambridge, Massachiusetts
Abstract Cinema, Museum of Contemporary Art, North Miami, Florida
I’ll be your mirror, BANK gallery, Los Angeles, California
Scalable Relations, Beall Center for Art + Technology, Irvine, California
Algorithms, Block Museum, Northwestern University, Evanston, Illlinois
Imaging by Numbers, Block Museum, Northwestern University, Evanston, Illinois
Design Life Now: National Design Triennial, Contemporary Arts Museum, Houston, Texas
TI, 5th Seoul International Media Art Biennale, Seoul, South Korea
Matters of Sensations, 07 MASSES (a collaboration with davidcolvers), Artists Space, New York
Ars Electronica, Shanghai eArts Festival 2007, Shanghai, China
Tissue Collection, Concrete Image Store, Amsterdam, Netherlands
Ephemeral: Explorations in Light, Claremont Museum of Art, Claremont, USA
Scriptedbypurpose, FUEL Collection, Philadelphia, Pennsylvania
Design Life Now: National Design Triennial, Institute of Contemporary Art, Boston, Massachiusetts
Ephemeral: Explorations in Light, Claremont Museum of Art, Claremont, USA
Design Life Now: National Design Triennial, Cooper-Hewitt, National Design Museum, New York
Cybernetic Sensibility, Daelim Museum, Seoul, South Korea
Further Processing, Kunstverein MEDIENTURM, Graz, Austria
Interferenze, New Arts Festival, San Martino Valle Caudina, Italy
Drawing / Painting / Sketching, CCCB, Barcelona, Spain
Drawing Conclusions on the Wall, Chapman University, Orange, US
ARTEFACT, STUK, Leuven, Belgium
Software Art Space, Decordova Museum, Lincoln, US
Faculty Exhibition, UCLA, Los Angeles, California
Bioart, Gallery António Prates, Lisbon, Portugal
SWARM, Fabric Workshop and Museum, Philadelphia, Pennsylvania
Generator.x, National Museum for Art, Architecture and Design, Oslo, Norway
Thick Works, Betty Rymer Gallery, School of the Art Institute of Chicago, Chicago, Illinois
Abstraction Now in White Noise, Australian Centre for the Moving Image, Melbourne, Australia
Inaugural Exhibition, bitforms gallery, Seoul, South Korea
SónarClub, Sónar, Barcelona, Spain
8 Abstractions, Now, À La Carte Digital Art, Sónar, Barcelona, Spain
Lines and Curves, LIMN Gallery, San Francisco, California
Fresh, Museum of Contemporary Art Auction 2005, Los Angeles, California
Generative X @ onedotzero, Institute for Contemporary Art, London, UK
Visions for Education, Benesse Square, Okayama, Japan
Rhizome ArtBase 101, New Museum of Contemporary Art, New York
Beecher Center, Youngstown, USA
05 TDC Exhibition, Ginza Graphics Gallery, Tokyo, Japan
Exit Festival, Créteil, France
Exposition Inventeurs! Via Festival International, Maubeuge, France
Artware3, Instituto Cultural Peruano Norteamericano, Lima, Peru
Art Life, Seeing Gallery, San Francisco Exploratorium, San Francisco, California
Touch and Temperature, Deborah Colton Gallery, Houston, Texas
Sonic Acts X, Paradiso, Amsterdam, Netherlands
L´Espace temporel, Ars Electronica Festival 2005, Linz, Austria
Digital Selections, Kendall College of Art and Design Gallery, Grand Rapids, USA
Interact1, London College of Communication, London, UK
NewSchool 9 Reactive/Creative, NTT ICC, Tokyo, Japan
Algorithmic Revolution, ZKM, Karlsruhe, Germany
Microwave International Media Art Festival, Hong Kong, China
Siggraph 2004 Art Gallery, Los Angeles, California
Runtime Art, Multimedia Institute, Zagreb, Croatia
Touch and Temperature, bitforms gallery, New York
Artport, Whitney Museum of American Art, New York
À La Carte Digital Art, Sónar, Barcelona, Spain
Telic, Los Angeles, California
This is Today, Triennale, Palazzo dell’Arte, Milan, Italy
Softwarekunst, DAM GALLERY Berlin & Transmediale 04. Berlin, Germany
Seven Wonders, Chromosome Gallery, Berlin, Germany
Uijeongbu International Digital Art Festival, Seoul, South Korea
Cluster, Mole Antonelliana, Turin, Italy
CODE, Ars Electronica, Linz, Austria
Abstraction Now, Künstlerhaus Wien, Vienna, Austria
l’esperienza del domani, Interaction Design Institute Ivrea, Ivrea, Italy
Danish Film Institute, Copenhagen, Denemark
X/AniMate at REMOTE, New York
Private Tundra, Los Angeles, California
Amoda, Austin, Texas
Translations/Transgressions, University of Rhode Island, Kingston, USA
Remapping/Neural Networks,
Work in Progress, Interaction Design Institute Ivrea, Ivrea, Italy
Collision, MIT, Cambridge, Massachiusetts
bitforms Inaugural Group Show, bitforms gallery, New York
Interaction ‘01, IAMAS, Ogaki, Japan
Animations, P.S.1., New York
Workspheres, MoMA, New York
New York Digital Salon, New York
Projects from the ACG, Cooper Union, New York
Print on Screen, Ars Electronica Center, Linz, Austria

Signals, Commissioned mural for building 76 at the Massachusetts Institute of Technology (MIT), in collaboration with Ben Fry
Chronograph, a site specific software mural for the Frank Gehry-designed building of the New World Symphony in Miami, collaboration with Tal Rosner
Whitney Museum Gala 2010, a software installation projected onto sixteen two-sided panels suspended from the ceiling on the third floor of the museum

2010  Exploratorium Osher Fellow
2009  The Icon 20/20
2008  Tribeca Film Institute Media Arts Fellowship
2005  Netizens Net Art Prize
2004  Prix Ars Electronica, Golden Nica for along with Ben

10 PRINT CHR$(205.5+RND(1)); : GOTO 10. MIT Press, 2013. Academic book in the software studies domain about a one­line Commodore 64 BASIC computer program. Co­authored by Nick Montfort, Patsy Baudoin, John Bell, Ian Bogost, Jeremy Douglass, Mary Flanagan, Mark Marino, Michael Mateas, Casey Reas, Warren Sack, Mark Sample, and Noah Vawter.
Century, exhibition catalog, DAM GALLERY, 2012.
Processing Architecture, Casey Reas, Ben Fry et al. Perspecta 44: Domain, The Yale.
Architecture Journal, MIT Press, 2011, Group-authored essay about the Processing software in relation to architecture.
Process Compendium 2004—2010, C. E. B. Reas. Reas Studio, 2010, Self-published catalog for eponymous exhibition at DAM GALLERY Berlin.
FORM+CODE in Design, Art, and Architecture. Casey Reas, Chandler McWilliams, and LUST. Princeton Architectural Press. September 2010. 176 pages. Paperback. A non-technical introduction to the history, theory, and practice of software in the arts. Organized into themes linked to aspects of code — repetition, transformation, parameters, visualization, and simulation — each of the book’s sections contains an essay, code samples, and numerous illustrations. Translated and published in Japanese by BNN.
Getting Started with Processing. Casey Reas & Ben Fry. O’Reilly Media / Make. June 2010. 160 pages. Paperback. Translated and published in Japanese by O’Reilly, Japan.
Processing: A Programming Handbook for Visual Designers and Artists. Casey Reas, Ben Fry. MIT Press. August 2007. 736 pages.
Process/Drawing, exhibition catalog, DAM GALLERY, 2005.

“Casey Reas.” Protein Profile, video interview with William Rowe,­reas
“Art from code with Casey Reas and Marius Watz.” Creative Coding Podcast interview with Seb Lee­Delisle, 28 July 2011,
“Casey Reas.” Substratum Issue 02: Visual Systems,
“Casey Reas.” The Creator’s Project,­reas
“Get with the Program.” Interview with Tracey Ingram, Frame, no. 79, pp. 223, Mar 2011 / ­Apr 2011, interview with Reas about FORM+CODE
“Interview with Casey Reas and Ben Fry.” Interview with Dan Shiffman for Rhizome, 23 Sep 2009.
“Casey Reas.” Interview with Joshua Noble, Programming Interactivity, O’Reilly Press, 2009. This book is about open­source tools for the arts including Processing, Arduino, and OpenFrameworks.
“Casey Reas and Ben Fry on” FLOSS Weekly 52, interview, 17 January 2009,­weekly/52
“Questions about Self­organisation.” PixelACHE 2008, Jun 2008. A set of questions posed to the grassroots initiatives Processing, Arduino, Dorkbot and Boxwars UK.
“Interview with Casey Reas.” Interview by Mia Makela, A Minima 22, 2008. Special issue about Live Cinema, curated by Mia Makela, interview on pages 46-51.
“Casey Reas.” Interview by Alessandro Ludovico, Neural 28, 2008, pp. 40-43.
“C.E.B. Reas about a series of unexpected events.” TAGMAG 04: Info, Aesthetics, pp. 34-37.
“Working the art process by typing in computer code.” Interview by Javier Candeira for Visual Communication, Special Issue: Screens and the Social Landscape, Vol. 5, Number 2, Jun 2006, pp. 205-217. Republished in Spanish in the magazine GRRR #15.
“An Interview with Ben Fry and Casey Reas.” Interview by Donna Marie Vakalis, Vague Terrain 03 : Generative Art, Summer 2006.

Eyeo Festival, Walker Art Center, The Soft Studio, Minneapolis, MN, 5–8 Jun 2013
Resonate, The Soft Studio, Belgrade, Serbia, 13 Mar 2013
Mobile Processing, University of Illinois at Chicago,
Processing 2.0, Chicago, IL, 3 Nov 2012
Bartlett School of Architecture, The Eye of the Needle, London, UK, 26 Sep 2012,
Eyeo Festival, Walker Art Center, Chance Operations, Minneapolis, MN, 7 Jun 2012,
Anderson Ranch Arts Center, Artist Talk, Snowmass Village, CO, 7 August 2012
Intel, Compendium+, Processing 2.0, Portland, OR, 11 May 2012
Virginia Tech, Compendium+, Blacksburg, VA, 18 April 2012
Champlain College, Artist Talk, Burlingon, VT, 23 March 2012
The Creators Project, Compendium+, San Francisco, CA, 17-18 Mar 2012
Yale School of Architecture, Conditional Drawing, New Haven, CT, 11 Feb 2012,
La­Va (Los Angeles Video Artists), Artist Talk, Los Angeles, CA, 13 Dec 2011
Exploratorium, Artist Talk, San Francisco, CA, 2 Aug 2011
Eyeo Festival, Compendium+, Minneapolis, MN, 28 June 2011
Eyeo Festival, Processing 2.0, Minneapolis, MN, 27 June 2011, with Ben Fry
El Camino College, Compendium+, Torrance, CA, 30 September 2011
Art as a Way of Knowing, The City Club of San Francisco, The History of the Future, Art and Technology 1965 – 1971, San Francisco, CA, 3 March 2011, organized by the Exploratorium, funded by NSF
CalArts Graphic Design MFA, Artist Talk, Valencia, CA, 11 April 2011
University of California, Santa Barbara, Process(ing), Santa Barbara, CA, 18 May 2011
Princeton University, Designing Programs, Princeton, NJ, 13 April 2011, with Ben Fry
TTI Vanguard, Design as Strategy, Creative Coding, a Future for Design, Los Angeles, CA, 23-­24 February 2011
Anderson Ranch Arts Center, Artist Talk, Snowmass, CO, 30 November 2010
Media Design Program, Art Center, Artist Talk, Los Angeles, CA, 19 November 2010
Graduate Art Program, Art Center, FORM+CODE, Los Angeles, CA, 9 November 2010, with Chandler McWilliams
Map Marathon, Royal Geographical Society, Process Compendium, London, 17 Oct 2010,
University of Illinois at Chicago, Coding with Processing as a Design Practice, 2 Oct 2010
Information Visualization: Mixed Taste, Anderson Ranch Arts Center, Snowmass, CO, 31 Jul 2010. Mixed Tastes events are tag­team lectures on diverse topics; this presentation was data visualization and fly tying (fishing lures).
Anderson Ranch Arts Center, Artist Talk, Snowmass, CO, 27 July 2010
Design Dialogues Fall 2010: Computation After New Media, Art Center College of Design, Coding (with Processing) as a Design Practice, Pasadena, California, 19 Nov 2010
Critical Code Studies, University of Southern California, 10 PRINT, 15 July 2010, presented with Nick Montfort and Jeremy Douglass
Decoding the Digital, Victoria and Albert Museum, Artist Talk, London, UK, 5 Feb 2010

Fragrant World. Live visual media and sculptures for Yeasayer’s 2012 tour. Commissioned by The Creators Project. In collaboration with Aranda\Lasch, Nick Gould, and Yoshi Sodeoka.
THINK. Led a team in developing generative images for the IBM THINK installation at Lincoln Center. Collaborated with IBM scientists, Mirada and Motion Theory creative directors and designers, and SYPartners art directors to develop five data stories and visualizations for a 123′ × 11′ LED wall. 23 September – 23 October 2011.
Signals. Commissioned mural for building 76 at the Massachusetts Institute of Technology. In collaboration with Ben Fry. Opened February 2011.
Maharam Digital Projects. Created and licensed five large format images (10′ × 16′ 8″) for the textile manufacturer Maharam.
Chronograph. Site­specific software mural for the Frank Gehry­-designed building of the New World Symphony in Miami. In collaboration with Tal Rosner. Opened January 2011.
Whitney Museum Gala 2010. Created a software installation for the 2010 Whitney Gala. The software was projected onto sixteen two­-sided panels suspended from the ceiling of the museum’s third floor.
{Software} Structures. Software and text about Sol LeWitt for the Whitney Museum of American Art’s ArtPort.

GANLand, DAM GALLERY Berlin, 1 February – 21 March 2020
COMPRESSED CINEMA, DAM GALLERY Berlin, 23. March – 4. May 2019
SUMMER SPLASH 4, DAM GALLERY Berlin, 23 June -31 July 2018
CODE + POETRY, DAM GALLERY Berlin, 8 April – 4 June 2016
AESTHETICA, DAM GALLERY Berlin, 29 May – 1 August 2015
SUMMER SPLASH 3, DAM GALLERY Berlin, 14 June – 2 August 2014
NO MESSAGE WHATSOEVER: FRIEDER NAKE & FRIENDS, DAM GALLERY Berlin, 16 November 2013 – 25 January 2014
BACK TO BACK, DAM GALLERY Frankfurt, 20 February – 4 May 2013
CENTURY, DAM GALLERY Berlin, 29 September – 27 November 2012
THINK LINE 2, DAM GALLERY Berlin, 16 November 2011 – 14 January 2012
COMPENDIUM 2004-2010, DAM GALLERY Berlin, 11 September – 3 November 2010
E-VOLVE, DAM GALLERY Cologne, 24 April – 24 June 2010
PROCESS/DRAWING, DAM GALLERY Berlin, 2 October – 23 November 2005
ARTICULATE, DAM GALLERY Berlin, 30 January – 4 February 2004