The Museum of the Moving Image in Queens has launched Site Interruptions, a yearlong series of commissions running July 2, 2026 through July 25, 2027, in which four artists take over the museum’s own website — movingimage.org — for roughly three months apiece. Each commission exists in two interdependent forms: a work on the museum’s homepage, and a corresponding installation placed somewhere unexpected in the physical building.
The lineup: Steve Pikelny (July 2 – October 4, 2026), Godmin (October 8, 2026 – January 10, 2027), Ursula Endlicher (January 14 – April 18, 2027), and Chia Amisola (April 22 – July 25, 2027). The announced themes run to spam, sensors, unidentified filming objects, and HTML gardens — which tells you roughly how literal the “interruption” is meant to be.
Why the homepage is a genuinely difficult venue
Net art has a well-worn deployment pattern: the work gets its own URL, gets linked from the institution’s exhibitions page, and is visited by people who came specifically to see net art. That’s a gallery with extra steps.
Putting the work on the homepage breaks that. movingimage.org is where someone lands when they want showtimes, a ticket, or directions — an audience that did not opt in, arriving with a task. An artwork that interferes with that page has to negotiate with the institution’s most functional surface, and the encounter it produces is closer to how art in public space actually works: unbidden, mildly obstructive, encountered by people who weren’t looking for it.
The physical half doubles down. Rather than a gallery slot, each artist’s onsite piece appears in an unlikely space in the building, something visitors have to notice and seek out. The two halves are described as interdependent — the homepage work alters how you experience the site, the installation waits for you in the architecture, and neither is quite the whole piece.
The first interruption
Pikelny’s commission, MoMI Upgrade Activation (2026), is a webpage built in JavaScript and HTML/CSS — an artist whose practice has long run on the aesthetics of internet junk and hustle, given the museum’s front door for three months. It’s on view now, through October 4.
What follows is a well-chosen spread of net-art practices rather than four variations on one idea. Ursula Endlicher, a New York–based Austrian artist, has spent decades working at the intersection of internet art, performance, and installation — including work that treats HTML structure itself as choreographic material. Chia Amisola, from Las Piñas, Philippines, makes work devoted to the internet’s loss, love, labor, and liberation, with a practice built around the homepage as a site of personal authorship. Godmin takes the middle slot in the autumn.
Why a moving-image museum is the right host
MoMI’s collection is fundamentally about how images are delivered — projection, broadcast, cartridges, screens — and the website is simply the current delivery mechanism, complete with its own material conditions: load times, breakpoints, ad-tech, cookie banners, browser quirks. Commissioning artists to work in that layer, rather than to make videos that get displayed on it, is the version of “digital art programming” most institutions still don’t attempt.
It also solves a chronic problem for web-native work: preservation and visibility. A homepage commission is time-limited by design, documented by the institution, and seen by everyone who comes for something else. That’s a better deal than most net art gets.