“A system requires gentle support and maintenance.” — Lifeform #2 “Lifeforms” as a work of generative art brings up many questions that have only become more relevant since its independent release in 2021. Sarah Friend is an artist and software engineer who has a conceptually rigorous, highly technical yet uniquely warm practice. At the time of the release of “Lifeforms,” NFTs were exploding financially, everyone was diving in, sales and speculation were at a peak, the song digital ownership of digital art and money for everyone was on the loudspeaker. Sarah walked into the room through a door everyone else either didn’t see or didn’t bother to open. While the majority of people at that time were focused on financial and artistic innovation with blockchain, the introduction of digital ownership and scarcity, and the potential of generative systems and blockchain to enable create new forms of creation and monetization, Sarah created “Lifeforms,” which counters completely the dominant logic of the moment. Upon receiving a “Lifeform,” you must give it away within 90 days. It will bring you no financial gain whatsoever. You will only have the satisfaction of being part of extending its life, allowing it to continue. “Lifeforms” is a conceptual artwork, an experiment in care as a collaborative exercise, and a mirror showing how much we value that which does nothing for us. Its lifespan depends on a system created by Sarah, between “Lifeforms,” and the people whose wallets they inhabit. We all survive through systems, yet rarely ask the pertinent question: what do systems need in order to survive? “Lifeforms” for me is situated in the lineage of Mierle Laderman Ukeles’ work MANIFESTO FOR MAINTENANCE ART 1969! which highlights the importance of maintenance. She emphasizes that while maintenance is not as exciting and sexy as innovation, it is arguably more important. Without maintenance, what is the fate of everything we build? Without being able to think about responsibility beyond ownership, who is going to care about the system, and beyond that, who is going to care about the people who care? I love that Sarah brings questions of care, ownership, maintenance of life, and responsibility to generative art. “Lifeforms” — exhibited on iPhone displays—have a small physical footprint but the implications of this concept and commentary reach well beyond our tiny screens. — Ania Catherine, Operator