Trecartin shows as few signs of slowing down as the addled (or perhaps Adderall’d) characters in his rapid-fire, candy-coloured videos. As the latter continue to expand both in terms of facture (higher-quality CGI, filming via drones) and how they’re nested in the expansive installations he produces with Lizzie Fitch, Trecartin is branching out in other directions: this year, he cocurated the New Museum’s Triennial, Surround Audience, which unsurprisingly was filled with artists negotiating the ravages of the digital age. 

Those duties didn’t prevent him, though, from participating in a dozen group and solo shows as well; curators recognise that, for the past decade, Trecartin has been – and remains – the artist who most naturally understands the Internet’s restyling of human subjectivity and the changing meaning of community. To ask where he’s going next is, most probably, to ask the same of the rest of us.