‘An institution is a learning system’, Obrist told Forbes this year while discussing the ‘Year of AI’ at London’s Serpentine Galleries. Each commission or exhibition that had been programmed, the curator claimed, would feed into the institution’s long-term curatorial strategy. Among those artists whose work ‘Superbrain’ Obrist had harvested was Refik Anadol (with an exhibition that incorporated visual data of coral reefs and rainforests) and Holly Herndon and Mat Dryhurst (who presented an AI-abetted choral installation). This wasn’t just about programming, though, Obrist later insisted to Art News: it was about working out a blueprint for survival. ‘Now AI is raising huge challenges for the economy of artists’, he stated, adding that the Serpentine shows were ‘focused on strategies for artists to assert their agency in a creative economy’. Meanwhile, the curator’s calendar of talks, panel appearances and book releases continued at the usual frenetic pace. Of the latter, new volumes of his conversations with Christo, Gustav Metzger and Norman Foster were published.