Our era’s most unconstrained artist-photographer is never not busy, whether making art, pursuing activism or lately making electronica albums; but Tillmans was particularly dynamic this year. In March he had his first big German museum show in a half-decade at Dresden’s Albertinum, the work exposing the massive material footprints of AI companies. A month later, while the Ukrainian city of Kharkiv was being bombarded by Russia, he opened a two-person show there with Boris Mikhailov, and in the same month a show in his German hometown of Remscheid. Meanwhile Between Bridges, the project space he founded in 2007, continues as a foundation, hosting exhibitions and residencies in Berlin. In June, just before Paris’s Pompidou Centre closed for renovation – and shortly before taking up a visiting professorship at the city’s Beaux-Arts art school – Tillmans commandeered all 6,000sqm of its public library space for Nothing Could Have Prepared Us – Everything Could Have Prepared Us. Combining photography, text, audio and video, it was widely acclaimed as an unmissable new highpoint in his exhibiting career.