Rafael Lozano-Hemmer, Surface Tension, 1992. Computerized surveillance system, screen, and Delphi programming, dimensions variable.

Rafael Lozano-Hemmer

Mexico City

Museo Universitario de Arte Contemporáneo (MUAC)

Art has borrowed from science since the beginning: we need only recall the adoption of linear perspective in the Renaissance or the rise of photography. The bond between artistic endeavors and technology, to be specific, is so strong that sometimes they seem to be one and the same—a perception that led many artists in the 1960s to explore the possibilities of introducing state-of-the-art materials and techniques, from optical effects to video projections, passing through algorithms, radar, and all kinds of elaborate mechanical devices along the way. Thus was born Jean Tinguely’s famous Homage to New York, whose complex machinery was designed to self-destruct. In time, however, it became clear that it is not the same thing to create a work of art that requires a certain technology (starting with the humble paintbrush) as it is to employ a technology that requires an artwork in order to exist. …see the entire review in the print version of April’s Sculpture magazine.