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Pace Gallery Holds First Web3 Solo Exhibit Featuring Tyler Hobbs
The New York City show, titled QQL: Analogs, features large-scale physical derivations of the generative artist’s popular NFT collection.
By Cam Thompson
Updated Mar 30, 2023, 6:52 p.m. Published Mar 30, 2023, 5:35 p.m.
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Contemporary art gallery Pace opened its doors in New York on Thursday to generative artist Tyler Hobbs’ QQL: Analogs, a show featuring physical derivations from the artist’s popular non-fungible token (NFT) collection, QQL.
Under its Web3 art division, Pace Verso, QQL: Analogs is Pace Gallery’s first show featuring works from a single artist that originated on-chain. The exhibition features 12 large-scale physical paintings that originated from the same QQL algorithm that generated the QQL NFT collection, which was co-created by Hobbs and pseudonymous generative artist Dandelion Wist.
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Hobbs said at the show’s press preview that he’s enthusiastic about bringing digitally native art to the eyes of viewers in person through physical derivations, providing a richer experience for enjoying the art.
“As a digital artist, you lose control of how people see work, especially when viewed on a small screen,” Hobbs said, explaining that the “hybrid” nature of his work allows viewers to ingest the work in a more enhanced format.
As NFT markets have been hit hard by crypto winter, Hobbs has kept interest in digital art alive as buyers have continued to flock to his work. Last September, one wallet scooped up over $900,000 worth of Fidenzas – his most popular NFT collection, which he released a year prior. Days later, he raised $17 million by selling mint passes for his QQL collection.
Beyond QQL, digitally native art has been finding its place in museums and galleries around the world. In February, NFT issuer Yuga Labs donated a CryptoPunk to the Centre Pompidou museum in Paris. Days later, NFT influencer and collector Cozomo de’ Medici donated 22 digitally native works to the Los Angeles County Museum of Art.
Read more: The NFT Louvre Exhibit That Wasn't: Untangling the Public Mess of a Non-Event
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