As Ethereum opens new frontiers for how we live, create, and coordinate, it invites us to reconsider agency: our capacity to shape ourselves and the worlds we share. Who can participate, who defines the rules, and what can each of us choose to keep private? How can we cultivate a shared world in which our autonomy and our connections to one another grow together?
Taking its cue from Ethereum’s Infinite Garden philosophy, Seeds of Freedom brings together five artists from the Infinite Garden Artist Cohort. Through cultural inheritance, consent, identity, play, and collective care, their works explore Ethereum’s commitments to censorship resistance, open source, privacy, and security. Inspired by infinite games, where the purpose is to keep play going, the exhibition approaches freedom as an evolving, collective practice—sustained by our ability to question and transform the rules, protect our autonomy, and keep participation open.
As you move through the exhibition, notice where you feel able to act, where you encounter limits, and how your participation changes what unfolds. What would you preserve? What would you change? Each contribution plants a seed whose future takes shape through others. At this new frontier, what conditions can we nurture together so that possibilities continue to grow?
Collective Bloom presents a playful experience where an audience member creates a choreography for a flower through their movements and contributes in growing a larger collective garden.
In his practice over the years, Agrawal has worked with concepts of ecology and garden spaces, often from the lens of them being places of leisure and simultaneously spaces made and maintained by a few (gardeners) enforcing certain forms of activities, identity, and an overall lack of belonging. Through the cohort, the ideas of infinite games, CROPS, and the metaphor of the Infinite Garden raised new questions for him around garden spaces – particularly the role of the gardener and the notion of ownership and agency in such spaces. The work aims to create a space where there is a sense of everyone becoming a gardener if they choose to – growing and contributing to a collective space with their own agency, expression, and sense of ownership. The choice of participating in this collective space, of choosing which flower to plant and what the choreography of that flower will be through freeform playful expression, are all aimed at incorporating that sense of agency while growing a collective space together.
The work explores the larger question of creating spaces where people can freely express themselves and become participants in growing a space together, rather than being bound by the choices of a few ‘gardeners.’
Harshit Agrawal is an Indian artist working with emerging technologies, primarily artificial intelligence and robotics. He is a graduate of the MIT Media Lab (USA) and IIT Guwahati. He was Google Arts and Culture’s first artist resident in India and has carried out residencies at Diriyah Art Futures (Saudi Arabia), Museum of Tomorrow (Brazil), Art Center Nabi (Korea), and X-Lab (Japan).
He held India’s first solo exhibition of AI art at the Emami Art Gallery in 2021. He has exhibited work at several premier venues around the world, including the Ars Electronica Festival (Austria), Asia Culture Center (Gwangju, Korea), Tate Modern (UK), School for Poetic Computation (USA), Accademia Albertina di Belle Arti di Torino (Italy), Artissima Art Fair (Italy), Museum of Tomorrow (Brazil), Art-AI Festival (UK), and SuperRare, among others. He curated India’s first AI NFT exhibition, featuring six global AI artists (including his own works).
He has been invited to speak about his work at several TEDx talks, INK Talks, the Designup conference, and the G20 Summit. His work has been covered in international media, including BBC, The New York Times, Artnet, and STIR World.
The Right to Know (2026) is a triptych examining the uneasy relationship between knowledge, privacy, and power. Using security-envelope patterns originally designed to prevent private correspondence from being read, the works explore three conflicting conditions of concealment, each challenging the desire to access information.
Taking the transparency of public blockchains as a contemporary lens, the series investigates the shifting boundaries between disclosure, privacy, and authority. Across the works, the stakes of revealing information depend on what is concealed, who seeks access, and what knowing might make possible.
Informed Consent questions what consent means when understanding is obstructed. Enough considers privacy through the principle of selective disclosure. Bearer examines the tension between the public record of ownership and the secrecy of a wallet’s recovery phrase.
Rather than treating transparency or secrecy as inherently virtuous, the works ask who has the right to know, when that right becomes an intrusion, and who gets to decide where that boundary lies.
Plutonium Fitzgerald is a Mumbai-based pseudonymous artist and curator. His practice sits between conceptual art, digital culture, and object semiotics. He is interested in familiar objects, interfaces, and visual systems that often fade into the background of everyday life, and in what they reveal about the structures around us. His work uses these forms to explore questions of trust, access, ownership, privacy, memory, and power. With his art, he often investigates the ways cultural and technological systems influence our lives. He holds a Master’s degree in Design and New Media from NYU and works across digital and physical formats, including code-based works, prints, and sculptural pieces.
hodl2blob is a cooperative installation about freedom: what it feels like to move and create inside a space with more or fewer restrictions. Two players share one blob, and the game runs in three modes, each with its own level of constraint.
Normal Each player controls one axis, and each can move only while the other allows it. Neither can draw alone, so creating together means giving and asking for permission.
Drift This is the free mode. A single player can start alone, and when a second player joins, each takes an axis. Nobody needs the other’s permission, so both can move whenever they like and the drawing emerges without rules between them.
Lock Here freedom is taken away. To reach the next level, represented by the next shape, players must trace 90% of the current one. Both individual players and the pair are monitored and scored, and the axes swap at random without warning.
hodl2blob isn’t about the constraints or the game itself. It is about the feelings the modes walk you through, and what they reveal about the finite and infinite games we play in society: the ones we play to win, and the ones we play to keep playing.
dwn2erth is an interdisciplinary designer, with a current focus on visual art and interactive media. Driven by curiosity, play, and experimentation, she moves between different mediums, looking for common ground. Her current aesthetics revolve around maximalism, glitch, and cyber chaos. Every piece of knowledge brings the possibility to create around it. She exhibits at the Artist Cohort and helps run the Onchain Art Hub, so tag along and find out more straight from the source.
ExRisk “to take the risk away,” to hold off a loss before it happens. It is a series of art pieces on displacement, each set where people stand to lose the place they live.
This one is set in Mumbai, where displacement turns on who counts as a resident. Dharavi, around six hundred thousand people on some six hundred acres, is being redeveloped, and the scheme promises a resident a flat only if they can prove they lived there before the year 2000; renters are left out. The piece opens the questions beneath that cut-off: who issues the proof, what counts as proof that you belong to a place, and what belonging means at all under that uncertainty.
We record the voices of people in Dharavi, asking what it means to belong here, and as each voice is gathered the city on screen grows, the work thickening in step with the sense-making forming around the neighbourhood, a settlement built quarter by quarter from what residents say. The recordings are handled anonymously and privately, on hardware and software Komma builds in-house.
The generative art piece runs on a small set of hard-coded rules to reproduce the emergent patterns in informal neighbourhoods, the logic by which a settlement densifies. Based on the inputs from the local community, the piece keeps building, eroding, and rebuilding with no end state we can name, the way Ethereum lays down a base protocol and leaves what grows on top to whoever shows up. By design it never settles: open and infinite, shaped on by whoever keeps speaking into it.
Clara Gromaches is an architect, photographer, and co-founder of Komma, a research and relational technology studio using artistic inquiry and real-world demonstration to shift collective imagination around how we value, own, govern, and care for what we hold in common, beginning with land and housing. For over fifteen years she has worked on urban transformation, housing, and new forms of relationship with territory, with research on housing and land models.
Credits
Concept, art direction, research and software integrations — Clara Gromaches
MELD and BRAID (hardware and software) — Charlie Fisher and Robert Matijevic (Bravno)
Hardware assembly — Maker’s Asylum Goa: Sahil Nayak and Swayam Kavlekar
Software architecture — Jordi Aulet
Facilitation in Dharavi — Reality Gives and Reality Tours and Travel
Voice recording in Dharavi — Boomika Devendran
Using the silhouette of a thangka, this work explores the relationship between individual agency and privacy: the freedom to shape one’s own path. Through layers of handmade paper and repurposed fabric, it considers privacy as something personal and fluid, negotiated through what we choose to reveal and conceal.
Drawing on Finite and Infinite Games and the Buddhist concept of reincarnation, the work reflects on life as an ongoing journey, where purpose extends beyond a single lifetime.
At its centre is Zhabdrung Ngawang Namgyal, depicted alongside his past incarnations and emanations. Beyond his role in shaping Bhutan, the work draws on his curiosity and passion for learning and life, qualities that reflect the spirit of an infinite player: one who plays not simply to win, but to keep the play going. His many incarnations further echo the Buddhist understanding of compassion and that goals transcend the individual, challenging the boundaries of what we understand as the self.
Ultimately, The Power of I asks the questions: What can you do? And what will you choose to do?
Dechen Wangmo is a Bhutanese interdisciplinary artist curious about the intersection of arts, culture, and technology. Growing up surrounded by Bhutan’s living heritage, she draws on a culture that is both familiar and ever-unfolding. Her practice explores how traditional knowledge can find new expressions through contemporary media, and how technology might reveal overlooked cultural forms, spark unexpected connections, and bring new perspectives to the knowledge we already hold.