The NFT-triggered mix of hype and genuine innovation that recently pushed digital art into the mainstream has seen reputations of artists (and artworks) balloon and burst as quickly as a crypto bubble. (Bored Ape, anyone?) But LA-based Anadol has been patiently building his sophisticated (yet still crowd-wowing) merger of big data, machine learning and immersive largescale video for over a decade, hypnotising audiences with huge shapeshifting projections, spawned from image libraries and live feeds such as environmental and weather data. Unsupervised, presented at New York’s MoMA, has become a yearlong hit, its constantly morphing forms a machine-learning interpretation (Anadol calls these ‘hallucinations’) of the database of MoMA’s artworks. (The museum acquired it in October.) From a solo show of ‘Living Paintings’ at LA’s Jeffrey Deitch in February, to a takeover of (and homage to) architect Antoni Gaudí’s Casa Batlló in Barcelona in May, Anadol’s take on data, dematerialising architecture and the digital sublime is spreading, currently taking over the exterior of the recently opened entertainment megaplex The Sphere, in Las Vegas.