‘There is no discussion of art anymore,’ concluded Steyerl at the close of 2023 when contemplating the artworld in Germany. ‘It’s Israel–Palestine, and that’s it,’ she told The New York Times. The artist had removed her work from Documenta in 2022 due to what she perceived as inaction by its curators over antisemitism, and was scathing of many of her peers who had publicly criticised Israel, telling The Guardian that many were merely practising ‘art as social media performance’. Furthermore, she bemoaned that it was those who only condemn violence on one side ‘that dominate the debate’. Steyerl’s engagement with the conflict comes as no surprise: questions of power, violence and mediation have been her subject matter for two decades now, parlayed into her video essays and multimedia installations. This year she premiered three new works that take the Nord Stream oil pipeline system as their subject at the Museum of Fine Arts, Leipzig, and settled into her new role as professor in Emergent Digital Media at the Academy of Fine Arts, Munich.