Computational art for a global audience.

We champion digital art, and make it part of everyday life.

Feral File is a cultural institution and technology company championing computational art—i.e. art that responds and evolves through code, models, and data. We collaborate with artists, curators, and institutions to produce exhibitions and build open tools to make living with this art effortless.

Founded in 2020 by artist Casey Reas and technologist Sean Moss‑Pultz, Feral File grew out of a2p (2019), an artist‑to‑artist experiment in exchange and provenance. It has since evolved into an independent company and institution dedicated to the practice, presentation, and preservation of computational art.

At its core, Feral File reimagines the artist–collector relationship for the digital age. Building on the 1971 Artist’s Contract, which shifted power toward artists by reserving their rights after sale, we have adapted its spirit to today. Rights, royalties, and responsibilities are encoded on the blockchain for transparency, building trust and fair support for artists. Beyond protecting artists, this also turns collectors into active stewards, and opens art to broader collaboration.

The Digital Art System.

The Digital Art System makes it simple to live with digital art. Start with the Art Computer on the screen you already own, or pair it with the Art Panel, our square matte panel designed for daily viewing. Powered by the open DP-1 protocol, it makes it simple to play, curate, and share digital art.

Highlights from Feral File’s history

2025

In July, Console Spirituality, curated by LAN Party (Vienna Kim & Benoît Palop) with Rhizome as program partner, explored gaming as ritual, world-building, and a way to glitch existing systems.
In September, we announced the Art Computer, built on FF OS and the DP-1 protocol. The Art Computer enables anyone (human or AI) to publish playlists and play computational art across screens.

2024

In February, Feral File collaborated with artist Sebastien Devaud (aka Agoria), fx(hash), and The Tezos Foundation to present Σ Lumina inside the Musée d’Orsay—the institution’s first blockchain-based artwork.
In March, SOUND MACHINES, curated by MoMA, explored sound as a digital medium. Featured artist Yoko Ono reimagined her earlier work SOUND PIECE V (1996/2024) as an on-chain interactive piece inviting public participation.
On the summer solstice, Feral File launched crystalline work (arctic) by John Gerrard—a 365-day data performance depicting a virtual robot generating ice crystal formations at the North Pole. The work will conclude on June 21, 2025, with 25% of sales supporting Irish reforestation nonprofit Hometree.
In September, Patterns of Flow celebrated a new generation of Japanese digital artists, presented online and as a physical installation at NEORT++ in Tokyo. Jasia Reichardt contributed a foreword linking avant-garde histories to contemporary generative art.
In December, Feral File presented E-volved Formulae by Driessens & Verstappen. Their custom software “bred” mathematical formulas through variation and selection, echoing human evolution. Mitchell Whitehall’s foreword, A Different Way, contextualized the work within both AI discourse and the duo’s broader practice.

2023

In March, Chain Reaction, curated by Christiane Paul (Whitney Museum of American Art), examined digital art’s evolving relationship with blockchain. That same month, Lee Mullican.PCX, Feral File’s first collaboration with an artist’s estate, reintroduced Mullican’s 1980s computer-generated work to new audiences.
In May, Refik Anadol launched Data Universe Burn — a blockchain-based thank-you to collectors following the success of Unsupervised.
In June, Feral File marked its second anniversary with two exhibitions: The Experiment, reflecting on the origins of a2p, and FF1.0, which revisited one work from each of our first 33 exhibitions.
In September, SOURCE became Feral File’s first non-commercial exhibition.
In October, MoMA launched the Postcard Project: an experiment in collective creativity on the blockchain, inviting public collaboration and participation.

2022

In May, On Screen Presence, curated by Regina Harsanyi, explored the screen’s role in digital art. Featured artists included 0xDEAFBEEF, John F. Simon Jr., Wiena Lin, Golan Levin, and Molly Soda.
In July, gämma, a solo show by p1xelfool curated by Kerry Doran, became our first exhibition on the Tezos blockchain.
In November, Gray Matter, curated by Gaia Bobò, featured Auriea Harvey’s 3D sculpture and marked our first Ethereum-based exhibition.
That same month, Peer to Peer, curated by Tina Rivers Ryan, was exhibited; all artworks were later acquired by the Buffalo AKG Art Museum.

2021

In March, Social Codes, Feral File’s first official exhibition, launched with artists including Andrew Benson, LIA, Dmitri Cherniak, Maya Man, Manolo Gamboa Naon, and Dave Whyte.
In October, Reflections in the Water, curated by Luba Elliott, examined AI-generated art nearly a year before Stable Diffusion’s public release.
In November, Refik Anadol’s Unsupervised premiered. The work was later installed at MoMA and acquired into the museum’s permanent collection.
That same month, –GRAPH featured generative plotter works by artists including Iskra Velitchkova, Julien Gachadoat, Licia He, and Tyler Hobbs.

2020

In spring, a2p #2 expanded the original concept into a large-scale, artist-driven experiment involving nearly 150 participants—many of whom were engaging with blockchain for the first time.
By summer, internal planning for Feral File began, transitioning a2p from an artist-led project into a dedicated initiative for exhibiting and collecting digital art.

2019

In 2019, a2p (short for “artist-to-peer”), curated by Casey Reas with Addie Wagenknecht, Rick Silva, and exonemo, explored new ways of distributing and exchanging digital work.
More than an exhibition, a2p served as a proof of concept—demonstrating how digital artworks could be exchanged with secure provenance on the blockchain. As Casey Reas later reflected, “a2p was a moment of collaboration and calm before the storm that shifted the history of digital art.”