- This year, the Tezos Foundation extended its relationship with the Museum of the Moving Image (MoMI).
- Throughout the year 2025, the Tezos ecosystem was found at important art events, which served as evidence of its widespread existence.
2025 was a remarkable year for institutional adoption and artist growth because to the Tezos art ecosystem, which resulted in the sale of more over half a million non-fungible tokens (NFTs) during the year. Art on Tezos continues to show that blockchain technology can effectively support creative activity at scale. This is demonstrated via a variety of initiatives, including ground-breaking museum collaborations and unique educational programs.
This year, the Tezos Foundation extended its relationship with the Museum of the Moving Image (MoMI), therefore converting the Herbert S. Schlosser Media Wall at the museum into a platform for creative experimentation that is based on blockchain technology. The MoMI has exposed approximately 243,000 people to digital art since the first collaboration exhibition in June 2024. Many of these visitors have created blockchain wallets for the first time via the museum’s free minting station experience. A total of twelve artists will be commissioned to produce unique works that include FA2 smart contracts as an intrinsic part of their artistic practice as part of the new initiative that will last for a whole year. Additionally, the FA2 Fellowship will be created, which is intended to educate artists and developers about Tezos FA2 smart contracts.
Throughout the year 2025, the Tezos ecosystem was found at important art events, which served as evidence of its widespread existence. At NFT Paris in February, digital art pioneer Kiki Picasso gave a live demonstration on an original Quantel Paintbox from the 1980s. This was the same machine that was used to produce the MTV logo and early digital masterpieces by artists such as David Hockney. The presentation garnered a lot of attention. The “Paintboxed – Tezos World Tour” transported this machine from the history of digital art to four different cities: New York, Miami, Paris, and Basel during Art Basel. The purpose of the tour was to introduce thousands of people to the origins of the medium while also showcasing fresh works created by experienced artists who are now making art on the blockchain.
One of the most significant events of the year was a festival that took place over the course of three days and turned Berlin into a worldwide center for digital art. The event included over 500 artists, dozens of exhibitors, and featured the world’s finest artists in their areas investigating the convergence of art, technology, and artificial intelligence. It drew more than 700 guests from all around the globe. Artists such as p1xelfool, OONA, and the poet Franziska Ostermann delivered performances that pushed the frontiers of live digital art. Meanwhile, the pieces that were on display displayed a wide range of artistic practices, ranging from generative art to interactive experiences.
These activities, in conjunction with the successful activations that took place at Paris Photo and other worldwide festivals, involved tens of thousands of visitors during the course of the year. Many of these visitors created their very first digital artwork via the immersive experiences that they participated in. At the Paris Photo show, Artverse had a stand that included notable artists such as Niceaunties, Grant Yun, Reuben Wu, Shavonne Wong, Emi Kusano, and Genesis Kai. Several of these artists were publishing their works on Tezos for the very first time. Because of the outstanding sales results, the curation was made available for purchase via objkt one, and it attracted a large number of first-time purchasers on Tezos.
All during the year, education remained a primary focus of attention. The month of August saw the announcement of a strategic alliance with the Processing Foundation, a non-profit organization that works to promote software literacy in the arts and technology. This cooperation was announced in conjunction to the MoMI x Tezos FA2 Fellowship as well. The collaborative program is in the process of developing a full tutorial series for p5.js 2.0, which will provide students all around the world access to creative coding education. Earlier initiatives that were backed by the Tezos Foundation, such as WAC Labs, which provided blockchain education to professionals across more than forty institutions, and Newtro in Argentina, which focused on onboarding artists via workshops and practical training, are being expanded upon by this effort.
The year 2025 was a celebration of a number of notable creative accomplishments within the ecosystem. Recent highlights include the purchase of TeleNFT pieces by the Francisco Carolinum, which were first displayed at Art on Tezos Berlin. This substantial institutional addition of totally on-chain digital art marks a significant milestone for the institution. Following its presentation during his solo exhibition at Galerie Met, the live-coded generative piece hello world by artist qubibi was also shown in Berlin. It was purchased for 62,000 tez during the exhibition. Earlier this year, Mario Klingemann’s early artificial intelligence piece, Triggernometry, which was a generative music video, was also sold for 43,000 tez at the Digital Art Mile. It was curated by Anika Meier for objkt one, which highlights the rising presence of generative art across both market and exhibition settings.
As the year 2025 draws to a close, it looks that the basis for ongoing expansion is solid. The relationship with MoMI will continue until January 2027, and subsequent stages will introduce new artists and creative ways to the integration of blockchain technology.
Tezos is a blockchain that is both cutting-edge and energy-efficient. It has been used by thousands of artists from all over the world for the purpose of creating and selling digital art. Additionally, cultural organizations such as the Serpentine Gallery, the Musée d’Orsay, and the Las Vegas Art Foundation have utilized it for their unique approaches to cultural programming.
