What happens when an algorithm curates an exhibition? It’s a question that Laura Herman, a doctoral researcher at the Oxford Internet Institute, is unpacking in “The Algorithmic Pedestal,” a show she has spearheaded at J/M Gallery in London.

She has invited two curators, one human and one machine, to bring together works for display by drawing from the Metropolitan Museum of Art’s Open Access collection.

The living curator is London-based artist Fabienne Hess, who has picked artworks related to the theme of loss, calling upon such universal human experiences as patience and curiosity. Her array of works are part of “Dataset of Loss,” a collection of images (including some of her own) that she has built over three years to counter algorithm-powered perceptions.

The exhibition’s other curator is, well, Instagram. Since November 2022, organizers have uploaded images from the Met’s collection of public domain works to the @thealgorithmicpedestal account on Instagram. Whichever posts the platform’s algorithm opted to display in other users’ Home feeds are what made it into the show.

For Herman, the exhibition, which also serves as her doctoral project, is not the only example of curation exercised by algorithmic calculation. In her view, Instagram’s “‘black box’ algorithm” is already influencing its “users’ experience of visual culture.”

“Many of these algorithmic platforms,” she said, “were not created with the intention of artistic display. They have very different goals: enabling connection between friends, selling ads, gaining attention, serving as a marketplace, and so on. This means that the underlying formulas according to which they operate are not tuned to artistic considerations of aesthetics, beauty, novelty, or even creativity.”

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