Brian Droitcour

For the last twenty years Brian Droitcour has been working in and around the art world as a critic, curator, editor, and educator. He has contributed to publications including e-flux, Frieze, and Spike, and has written catalogue essays for exhibitions at the Whitney Museum, the New Museum, and the Art Gallery of Ontario, among others. From 2014 to 2021 he worked at Art in America magazine, where he organized special issues on topics including the digitized museum, generative art, and immersive art.

He has taught in MFA programs at Pratt Institute, Maine College of Art, the George Washington University, and City College of New York. Droitcour edited an online magazine for Outland, a fine art NFT platform, from its founding in 2021 to its suspension of operations in 2024. In 2025 he relaunched Outland as a nonprofit dedicated to initiatives in publishing and education about digital art.

Brian has previously curated exhibitions at Franklin Street Works in Stamford, CT, and Klaus von Nichtssagend Gallery in New York, as well as at artist-run spaces at venues including a jewelry store, a pizza parlor, and a subway station.

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Two Trends in NFT Art

Like painting, the NFT persists despite repeated pronouncements of its death. The format is just too convenient. Now that we know how to fuse digital art to a tradeable digital asset, we can’t forget. Even if blockchains transform beyond recognition, the NFT, too, will transform, to be compatible with them.

Of course, the NFT market now is tiny compared to what it was in 2021. It’s not as easy for artists to sell whatever digital file they mint as it was four years ago. And yet there are artists who still release NFT collections, and collectors who still buy them.

Markets and communities have formed around two genres that are the most significant trends in NFT art of the last few years. One is blockchain formalism—art that reflects on the relationships enabled by blockchain infrastructure and gives them a visual form that draws on aesthetics of computing. This is art that cannot be made without blockchains and without software. It makes sense for it to be traded using NFTs, and for it to be collected by people who care about web3 and want to sustain an artistic culture around it.

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邊界 Team
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