Video games “have emerged, Mario-like, into modern art’s innermost sanctum—or at least a modest gallery next to the lobby at MOMA,” jcljules writes. A free show called “Never Alone” features the museum’s 35 games.
, who exhibited a hacked version of Super Mario Brothers called “Super Mario Clouds” at the 2004 Whitney Biennial—while slighting the original works as mindless entertainment.
What ties it all together is a slightly pixelated notion of interconnectedness. “Whether Zoom video calls or Fortnite battles royal,” Glenn Lowry,’s director, writes in the catalogue’s foreword, digital interaction served as a “social adhesive” during the pandemic, “when so much threatened to pull us apart.
It’s an understandable overcorrection. One of the earliest art-museum shows about games, at the Barbican in London, in 2002, resembled an enormous arcade, interspersing more than a hundred playable titles with whimsical installations such as a Space Invaders variant that allowed visitors to gun down sentences from Michel Foucault’s “What Is an Author?” Later exhibitions, at the Smithsonian in Washington, D.C.
A spectacular breakthrough in exhibiting games occurred at London’s Victoria and Albert Museum, in 2018. “Videogames: Design/Play/Disrupt” was aggressively contemporary, showcasing everything from big studio hits like The Last of Us, recently, to provocative indie experiments about gun violence, gay saunas, and the injustices of the smartphone supply chain.
Then, of course, there are institutions explicitly dedicated to video games, such as the Computerspielemuseum, in Berlin. The problem, though, isn’t so much that video games lack institutions as that they have been severed from the broader study of culture. The form has shaped how millions see the world. There ought to be exhibitions on Myst and Surrealism; The Sims and interior design; Red Dead Redemption, Albert Bierstadt, and the American West.
The form’s ambition to be immersive often relies on a certain secrecy about its workings. “Games are at pains not to exhibit themselves,” Pippin Barr, a Montreal-based game designer, told me. Barr’s series of playable exhibitions reverses this dynamic, slicing games up as a way of opening them to the imagination. “v r 3” exhibits forty-eight varieties of digital water, which are arranged in identical gray plinths inspired by Donald Judd’s “100 untitled works in mill aluminum.
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