Introduction
The Whitney connected conceptual practice and computational media through rules, instructions and algorithms, also addressing television apparatus, signals and image sequences. Running from 2018 into 2019, the exhibition supplied an institutional framework for multiple computational histories.
RESEARCH ACCOUNT
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018: work and context
ANTI-AI ARCHIVE · Revised 2026-10-02
Work, material and process
Drawing on the museum’s collection, the exhibition related conceptual instructions to practices manipulating programmes, apparatus and signals. Drawings, software and performance occupy connected but distinct histories. Curatorial association does not establish direct causal influence between every work.
Section sources: Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Historical significance and questions
Editorial interpretation: the exhibition tests classification by apparatus alone and the indiscriminate labelling of rule-based art as AI. Separately recording exhibition and work preserves the later histories of collection and interpretation.
Section sources: Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Sources for this account
Cited artist or institutional description and date read; the physical original was not examined and the system was not reconstructed.
This account expands the archive within the cited scope. Historical interpretation is not presented as the original author’s statement or as a proven causal influence. The account and translation are AI-assisted, pending independent human review. Section references identify evidence without claiming independent verification of every historical statement.
Continue with a comparative question
Compare the methods, forms of control or presentation contexts of this entry and Sine Curve Man.
Compare the methods, forms of control or presentation contexts of this entry and Curvilinear Perspective.
Dates & version record
Date displayed for this node: 2018-09-28–2019-04-14 · Historical date recorded for the source: 2018-09-28–2019-04-14
Date precision follows the cited work or institutional record; catalogued on 2 October 2026.
These dates refer to the historical event or recorded version, not this page’s publication date. The original date precision and unresolved questions are retained.
Original sources & further reading
These links lead to the cited paper, article, institution or conference page. External texts retain their source languages.
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
https://whitney.org/exhibitions/programmed
Current cited URL
The cited artist or institutional record was read for the attributed work, production and exhibition information; this does not independently verify every recollection or priority claim. Historical interpretation is distinguished from the record.
Provenance, translation & verification
Archive node #246 · Exhibition and institutional context
Research materials & supplement references · 1
Sources for artistic practices and exhibitions (2 October 2026) · Online work or institutional record · 022
Date as recorded: 2018-09-28–2019-04-14
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 ↗
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
Archive account based on the listed research materials, not a full translation of the linked work. AI-assisted translation; independent human review pending.
Official material was read within the stated scope; see the source note for reading limits and outstanding checks.
Cite this node
ANTI-AI ARCHIVE. Programmed: Rules, Codes, and Choreographies in Art, 1965–2018. Art-history node #246. https://salondesrefuses.cn/en/art-history/246
For specific historical claims, also cite the original sources above and include your access date. This account is not a full translation of the linked work.
Adjacent nodes follow chronological order; adjacency does not establish direct influence or causation.