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Jeff Davis splits each composition into bars of intertwined color intervals, and every digital work carries the instructions for its own pen plotted drawing. Intervals debuts on Art Blocks and at Heft in New York on November 20.
In his backyard in Stony Point, New York, Stan VanDerBeek built an aluminum dome where visitors lay on the floor under a storm of films and slides. He imagined a worldwide network of them, linked by satellite.
Joan Mitchell painted Green Book of Barbara Guest around 1960 and named it for her friend, the poet and critic. Unseen in public for six decades, it makes its auction debut at Sotheby's New York on November 16, estimated at $12 million to $18 million.
Luiz André Gama spent 5 months projecting generative code onto the walls of Castel di Croce, a village high in the Monti Sibillini. SALASSO turns those nights into 5 works on Tezos, part of a project to bring the village back to life.
Brutal's THE ORDER opens on Ethereum today: 6,669 generative works that begin as still faces, lie down into moving landscapes and change their own frame from square to 16:9, drawn by an engine written inside the contract.
Grant Yun's first long form, fully onchain generative project turns the Public Land Survey grid into 1,300 interactive 1/1 sections and 12 Megacities, launching with Fellowship on November 18 and on view at NODE in Palo Alto on November 19.
David Hockney painted David, Celia, Stephen and Ian, London, 1982 on 8 equal canvases after his composite Polaroids. It comes to auction for the first time at Phillips New York on November 17, estimated at $10 million to $15 million.
On November 27, 1968, MoMA opened The Machine as Seen at the End of the Mechanical Age, Pontus Hultén's survey of how artists loved and feared machines, with a catalogue bound in metal and 9 new works made by artists and engineers for E.A.T.
Almost nobody photographed San Francisco's first Pride in 1970. Fantastic Planet asked an AI model to remember it, and the 32 Tezos 1/1s of Composite, June 1970 show what a thin record leaves out.
Litzlbergkeller (1915-1916), Klimt's square view of a lakeside inn once owned by Serge Sabarsky, leads Christie's 20th Century Evening Sale on November 17 with a $60M to $80M estimate.
Founded in Binghamton in 1971, the Experimental Television Center built a Paik/Abe synthesizer artists could use free of charge, then ran a residency in Owego until 2011 that hosted more than 1,500 makers.
Strikes, a fixed edition of 150 generative digital paintings by Medusa, releases November 12 on Art Blocks. Cubes assemble into networks, winding paths scatter them, and the scene is painted.
Geotechnics, 98 Ethereum editions by Paul Prudence on Verse, fractures surfaces into discrete units. Each comes with a signed artist's book and a hand-typed instruction card.
In November 2001 Steven Sacks opened bitforms at 529 West 20th Street, a commercial gallery devoted to digital and digitally influenced art. Its inaugural show ran November 15 to December 2 with Casey Reas, Golan Levin and five others.
CONSENSUS, Liu Jiaying (CryptoZR)'s solo of protocol-based works since 2017, is open through November 15 at Pao Galleries in the Hong Kong Arts Centre. Fifteen works, two new installations, free admission.
At Bitcoin Amsterdam 2026, BMAG fills a SugarFactory room with Burst, ZETRA, RYR and Cypherpunk Now, while Bitcoin Art Society puts BitArt's Mosaic on the main stage LEDs and stages 2 gallery nights.
Wassily Kandinsky's Betonte Ecken (1922-1923), once sold by the Guggenheim for about $62,000, carries a $60 million to $80 million estimate in Christie's 20th Century Evening Sale on November 17.
Nocturne, a fixed edition of 111 animated skylines by painter and generative artist James Mendenhall, releases today on Art Blocks Studio. Each token's weather changes daily at midnight UTC.
Roy Lichtenstein's 1990 Reflections on "Painter and Model," from the Hedreen collection, carries a $20 million to $30 million estimate at Sotheby's Now and Contemporary Evening Auction on November 16.
Launched online in 2001, the Whitney's artport commissions finally fill the museum's sixth floor. From November 21, more than 100 net art works open as floating browser windows in the galleries.
Operator's Human Unreadable began in 2023 as 400 generative works hiding dance sequences on Ethereum. From November 19, the first 100 scores become Act III, a live performance commissioned by the Whitney.
Emi Kusano trained an AI model on her own face and body, then cast her clones as flight attendants, nurses and brides. End of Nostalgia, her large museum solo, opens at HYPER MUSEUM HANNO in Saitama on November 14.
Painted in May 1890, weeks before Van Gogh's death, and not shown publicly since 1964, Châtaigniers en fleurs leads Sotheby's 12 painting Blaquier-Arrieta sale in New York on November 18, estimated around $180 million.
In 1970 Philips unveiled a 4 meter steel creature in Eindhoven that leaned toward quiet voices and shied away from shouts. Edward Ihnatowicz's Senster is considered the first robotic sculpture controlled by a digital computer.
In April 1965, Bell Labs researchers A. Michael Noll and Béla Julesz showed computer made images at the Howard Wise Gallery on West 57th Street. The invitation was a deck of IBM cards, and nothing sold.
p1xelfool built the software and a keyboard of cast metal spikes for e/pi:/dermis, 12 works on Tezos that each took at least 30 minutes of typing. Until November 8, the first work fills an LED wall at Wintercircus in Ghent.
Amedeo Modigliani carved Tête from a single block of limestone in Paris in 1911 to 1912. Fresh from 5 decades in 1 collection, it leads Phillips' New York Evening Sale on November 17, estimated at $28 million to $35 million.
Sofia Crespo and Feileacan McCormick trained their own neural networks on dive footage to show the life inside sediment clouds. From November 9, Sediment Nodes comes to the East Slovak Gallery in Košice.
On March 17, 1960, Jean Tinguely's Homage to New York shook, burned and smoked itself apart in MoMA's sculpture garden in 27 minutes, run by a timer built at Bell Labs by Billy Klüver.
OONA built Dear David from London Underground footage of herself and her emails with the man who sends it. After a wedding with an empty altar, The Ceremony closes all 8 chapters on Tezos.
Travess Smalley's Pixel Rugs began as Appalachian style patterns for his houses in Minecraft. From November 13, Galerie Met in Berlin shows the project as Tezos works, animations, prints, woven rugs and a new monograph.
Variations on the Hexagon, 1 of 6 mirror mosaic panels Monir Shahroudy Farmanfarmaian made for the V&A in 2006, sold for $844,800 on November 1, leading MAWASIM, the first fine art auction held in Abu Dhabi.
For the 8th ELEKTRA biennial, curator Alain Thibault spreads Lux Æterna through every floor of the SonoLux hotel in Old Montréal, with light based video, generative and sound works by Sabrina Ratté, Matthew Biederman, Baron Lanteigne and Inhwa Yeom.
Breaker, a 2019 XCOPY 1/1 first minted on SuperRare, has joined a new collection in a private sale of $660,000, a reminder of how much weight the artist's early character pieces still carry.
In 1998 Franklin Furnace, the Tribeca home of artists' books and early performance art, sold its loft and started netcasting performance to the world with Pseudo, betting its future on the internet.
Slava Rybin's Crawlers turns the bots that read the internet into 1,111 crawling creatures that roam a Wikipedia style page, play it like an instrument and write new text from what they find.
Aaron Boyarsky's correspondence, out now on Art Blocks Studio, pairs kaleidoscopic cellular automata with music by his collaborator Snack Master, in 400 outputs that never play the same way twice.
At its sixth Marfa Weekend, Art Blocks staged a new show in its gallery each day, from EMULATION to LACMA's Synthetic Topographies and NEORT++'s Quietus Machine, while museums debated the next 100 years at the Crowley Theater.
On September 6, 2001, Postmasters Gallery opened a show of live webcam projections by net art pioneer Wolfgang Staehle: a German monastery, the Berlin TV tower and the skyline of Lower Manhattan. 5 days later, the work kept watching.
Leander Herzog's Field, on view at Nguyen Wahed in New York to November 21, is a living field of grass computed in real time and split into 26 onchain views. Touch it in one, and every other view sees you.
After a long struggle with their health, Karmelo set aside characters for a single skull. Still Here Series 01 is 32 simulated silkscreen studies of it, each in its own palette, all inscribed on Bitcoin and all saying the same thing: not today.
On February 1, 1996, Mark Tribe started an email list for new media artists from Berlin. Within 2 years Rhizome had moved to New York, worked out of a loft at Postmasters Gallery and become a nonprofit. It turned 30 this year.
In VESSELS, Rocketgirl paints figures in the language of the old masters, eyes closed, their bodies opening onto the worlds we carry now: a knight on a drip, a birdcage full of Bosch's creatures, an office war. 1/1s on SuperRare and editions on Transient Labs.
Fish Gospel, the newest Ordinals collection by Artifishal, tells a 23 chapter story in 435 still images inscribed on Bitcoin. It began as a love letter to crypto culture and became a portrait of human nature.
Sri Lankan visionary artist Nuwan Shilpa Hennayake has drawn a pantheon of demons born from the feed, from Algorithmic Anxiety to FOMO Possession, each a 1 of 1 on Ethereum via Transient Labs.
Ivona Tau, who trains her own AI models on her photographs and family archives, is joining the Onassis ONX Fellowship in New York. A look at the work that got her there, from Mythic Latent Glitches on Tezos to Demons of the Night on Ethereum.
Bryan Brinkman's Squeegee, which debuted at the Art Blocks Artists Fair in Marfa, lays down dots and piped lines of paint and drags a blade through them every 10 seconds, fully on chain on Ethereum.
In 2018 Anthony McCall filled the blacked out main hall of Pioneer Works, a rebuilt 1866 ironworks in Red Hook, with 30 foot cones of projected light that only digital projectors made possible.
Baku's Remains turns photographs of real human remains from the Catacombs of Paris into painted skulls on Ethereum, revealed 1 at a time, with Skull No. 2 due this week.
In 2014 the New Museum opened the first museum-led incubator for art, design and technology next door at 231 Bowery, where Sougwen Chung began drawing alongside a robot.
DRIFT, Deon Taylor's documentary on photographer Isaac Wright, won Best Breakthrough Documentary in San Diego and has its New York premiere at DOC NYC on November 15 and 17.
Archan Nair's living mythology Echoes Within Mūori is moving into its second chapter, Dōrvath :: The Monuments, after a first chapter told as a walk, a door and a hunt.
In 2005 a young Brooklyn avant-garde venue moved into a silo by the Gowanus Canal and installed a 16-channel hemispherical speaker system for composers to write for.
In identity studies Series I, 20 crowds of faces made with AI models trained only on his own code and images ask where identity comes from once machines join the room.
In Tape T Is In The System, an AI from a ruined future turns conversations into art, sends it to a small round device on your desk and, since October 18, can even keep time.
In 1977, when synthesizers were rare and expensive, a New York studio rented them to any artist for $4 an hour. That studio became Harvestworks, which has now supported more than 14,000 artists.
A BLOCK from Portraits of a Mind, Robert Alice's 40 paintings of the code that launched Bitcoin, is part of the landmark digital art gift LACMA announced on October 22.
From a wall of 10,000 marbles sorted by code in Granollers to Idoni, her 3-layer Art Blocks work, now running on tiny hand-built screens, Anna Carreras brings artisanal generative art to Marfa.
In the fall of 1970, Jack Burnham's Software filled the Jewish Museum in New York with time-shared computers, a live visitor poll, the first public hypertext and a colony of gerbils living inside a robot's world.
For Before It's Gone, the 8NAP Masters Series show during Art Blocks Weekend in Marfa, Dangiuz imagines every screen in his neon city going dark at once, as a digital work and a 30 by 40 inch light box.
In a 2-part interview published October 22, Rafaël Rozendaal looks back on a quarter century of websites, Art Blocks and on-chain horizons, and explains why his newest work is paint on canvas.
60 years ago this week, 10 artists and about 30 Bell Labs engineers filled New York's 69th Regiment Armory with infrared cameras, wireless racquets and sonar for 9 Evenings: Theatre and Engineering.
At ASIA NOW in Paris, Reuben Wu's Homage to Homage to the Square hangs in Faces, a show by Gallery BYGRIDA and Art on Tezos that treats landscapes, avatars and video signals as portraits.
Since August 28, Casey Reas has used HEK's online space as a studio, turning a live watercolor into software each Friday, and Omnia Ex Natura: In Situ holds its final session this Friday before closing on October 25.
From 1967, Maryanne Amacher wired harbors, mills and storefronts to her studio over telephone lines and mixed them live, a 22-part series whose archive Blank Forms helped bring to New York.
Rapha Mey's only 1/1 of 2026 is IOR, a code-made loop of a glass-like vessel that lets red and blue pass through each other, made for the Searching for Balance auction on Tezos.
Soda is complete: 10,000 hand-drawn pixel portraits by 1 artist, a profile picture collection that treats a human being as the generative algorithm.
5 years after Letters put 1,000 hand-drawn envelopes on Ethereum, Vinnie Hager is bringing the series to the Artist Fair in Marfa as real postcards you can send.
In 2005, 2 fellows at Eyebeam in Chelsea set out to build tools for graffiti writers, and the Graffiti Research Lab lit up New York with magnets, LEDs and lasers.
Mario Klingemann and Botto, the decentralized autonomous artist he designed, will work live side by side in Taipei, as a show of Botto's 5 years opens at Huashan 1914 Creative Park.
In Marfa on October 24, Takens Theorem's Timescale joins Quietus Machine, a NEORT++ show of 3 sealed machines that compute without stopping and turn their own effort into on-chain art.
In 1969 Howard Wise filled his 57th Street gallery with televisions for the first American exhibition of video, then closed it to found Electronic Arts Intermix.
At bitforms gallery in New York, Jennifer and Kevin McCoy's ReLensing pulled apart the tools that make images, from 3D printed glass and shadow play to a plotter painting prompted by Moby-Dick.
Jan Robert Leegte is showing photographs of nothing at all in Amsterdam while an algorithmic walker drifts across Groningen, logging every turn on a blockchain.
In 1971 Steina and Woody Vasulka carried their monitors into a disused hotel kitchen in Greenwich Village and opened a room where video was performed live.
After a year of teaching an AI choir to sing with the public in Berlin and Düsseldorf, Holly Herndon and Mat Dryhurst bring a new commission to MoMA in 2027.
Mitchell F. Chan's first solo show in Asia fills DE SARTHE in Hong Kong with pinball machines built to make play feel like work.
At Bell Labs, Ken Knowlton and Leon Harmon turned a photograph into a wall of tiny symbols 12 feet wide, and their office prank ended up in The New York Times.
Jakob Kudsk Steensen opens Wetland at MoMA, where Berl-Berl turns the lost swamps beneath Berlin into a living digital landscape that sings with Arca's voice.
A Siemens mathematician, a plotter bought for technical drawings and a programming error: how Georg Nees helped open the first shows of computer art in 1965.
Demon Ego auctions 5 new STUPIDS videos on Verse with HEX ENDUCTION, short films for the monsterized uglies, and sends every bidder a gift episode.
Meridian #870 by Matt DesLauriers goes on display at the V&A in Degrees of Disruption, a new show tracing generative art back to Vera Molnar.
ThankYouX brings Doom Scroll, his datamoshed series built from real feed footage, to Marfa on October 24 during the Art Blocks Marfa Weekend.
Osinachi steps from portraiture into abstraction with Signatures, a SuperRare blind mint of 1111 works drawn in Microsoft Word, shaped by Igbo Uli and built around tension.
Zoe Louise has inscribed all 36 works of Born in a Lucid Dream on alpha sats, a series of roses, light and new life that opens as buy now listings on ord.net on October 16 at 0.0048 BTC.
In 1961 John Whitney gathered the effects of an analog computer built from a World War II gun director into a single film, Catalog, a founding moment for computer animation.
Luciana Guerra released The Birth of Luciferina III on SuperRare, the third oil painting in a feminist series that reclaims art history images as hybrid, mutant female figures on Ethereum.
Costo Bravo's In Development, 18 film photographs that develop anew on every load from a darkroom engine inscribed on Bitcoin, goes on public sale today on ord.net.
BEST BEFORE by Lemonhaze and Ordinally, 420 living generative works inscribed on Bitcoin, now has its own site at bestbefore.gallery, with a live ledger of every work's life in blocks.
Antonio Batzu's Peer to Peer Army, a permanent edition of 210 handmade ceramic and bronze Bitcoin warriors, is now reaching collectors in the United States.
After a visit to the V&A with Matt DesLauriers, William Mapan is preparing a new work with Avant Arte for the museum's Digital Art Season and its upcoming Vera Molnar exhibition.
Lawrence Lek performs NOX (Live), a new reworking of his story about a rehabilitation program for runaway self-driving cars, on the opening night of Somerset House Studios' 3 Evenings in London on October 16.
Kirill Semenovich, known as Pale Kirill, builds AI video works as complete worlds and treats making as a kind of prayer. A short profile of his practice, from ULTRALOVE to Safe Haven on Verse.
In 1968 Jasia Reichardt filled London's ICA with computer drawings and machines that moved and listened, and put engineers on equal footing with artists.
Coldie has had his mold-ruined Filthy Fiat dollar bills certified and slabbed by PMG, the latest turn in a project about the fragility of fiat money and its contrast with Bitcoin.
NODE, the nonprofit home of the CryptoPunks, opened a new Studio in SoHo this weekend with a Punks Brunch, a live performance and a public open house.
Refik Anadol's Dataland launched an app with an AI guide after hosting more than 50,000 visitors, capping a month that brought a TIME100 Art nod and a new work at Meta Connect.
Nullish rebuilt Jean-Pierre Luminet's hand-drawn 1978 black hole in p5.js for Event Horizon, 1,000 audiovisual pieces on block 9 sats.
Grant Yun went from PowerPoint shapes and medical school to Neo-Precisionism, Primera with Andrew Mitchell and SPACES, and is now teasing one of his most ambitious projects yet.
Rare Scrilla's DJPEPE card turns ten on October 13, with 39 subassets that make it a mini gallery within the card itself.
Lillian Schwartz went from a kinetic globe at MoMA to decades at Bell Labs, where she made Pixillation with Ken Knowlton and used a computer to argue that the Mona Lisa hides Leonardo's own face.
Jonas Lund completes MVP (Most Valuable Painting), the self-optimizing painting project that had sat at Generation 450 since 2022, in a Feral File solo exhibition.
Physicist and generative artist Andrea Belloni is building Homage To Herbert W. Franke, a tribute recognized by the Foundation Herbert W. Franke, ahead of the pioneer's centenary year in 2027.
Long before text prompts, the painter Harold Cohen spent decades teaching a program called AARON to draw, then to paint.
RalenArc releases ScatterForm, a 300-piece generative collection drawn from fabric, stone and painted surfaces, as a featured OpenSea drop on October 8.
Paweł Dudko's Lapse, a scroll-driven generative work that slowly fades to black or white, found a collector in the Searching for Balance auction on objkt and carries a teleburn route to a 1/1 Ordinals inscription.
Dmitri Cherniak is sharing a new run of algorithmic drawings in green, blue and red color types, alongside a live browser version of Ringers in Motion.
OKAYAMAN's first solo exhibition opens November 14 at ONE DAY COFFEE in Hachioji, and his SILKROAD series is coming with it.
Hoizon's Slightly Wrong, a collection of 100 animated loops on SuperRare, sold out on October 5, five days after its October 1 launch.
Sasha Stiles turns the Kalmyk-Mongolian epic Jangar into scrolls, encoded beadwork and code in her first show at Sapar Contemporary in New York, on view through November 6.
In 1985 Andy Warhol painted Debbie Harry live on a Commodore Amiga. Almost 30 years later, Cory Arcangel helped pull 28 lost Warhol images off his floppy disks.
Maya Man brings StarQuest, her performance-lecture on competition dance and AI, to the V&A in London on October 10, as her net art work Pure Information sells for $20,000.
Kevin Abosch's Testing Ground, computational landscapes that look photographic but depict places that do not exist on a map, opens TAEX's new Monaco gallery on October 9.
Nam June Paik’s most famous video sculpture started as a gap-filler: a Buddha watching itself on a closed-circuit TV at Galeria Bonino in 1974.
OTO's Polylith reads Bitcoin from a far future block back toward Genesis, a generative Ordinals work that updates with every new block.
Michael Hafftka, whose paintings sit in MoMA and the Met, keeps inscribing new work on Bitcoin, including We Are Not in Kansas Anymore in March 2026.
At SuperRare's ./spiral in New York, Pindar Van Arman condensed his AI Portrait series into Emergence to Reflection, a triptych spanning 2018 to 2024.
Justin Aversano has silkscreened 366 paintings and is hanging his hand-painted photographs on canvas ahead of a November opening.
Billy Restey's Recursions turns early Ordinals inscriptions into 300 abstract collages, each a tiny recursive file on Bitcoin.
In 1967 Sol LeWitt wrote that the idea becomes a machine that makes the art — then handed wall drawings to other hands.
Ryan Koopmans and Alice Wexell's first New York solo show at Leila Heller Gallery debuts Fragments, twelve glass mosaics of the Soviet-era flower postcards that started The Wild Within.
CryptoPunk #8348, the only Punk with seven attributes, sold today for 3,000,000 USDC plus an undisclosed amount on GONDI, ending Seedphrase's six-year hold.
Burst’s TIMESTAMPS | HAHA Blocks hangs in the Francisco Carolinum’s first full showing of its blockchain collection, built on Bitcoin blocks picked by the numbers in HAHA.
The Centre Pompidou launches a five-year Digital Art Committee of French and international patrons, with particular attention to onchain works and new forms of generative art.
Costo Bravo's Non Finito series reaches its third chapter, In Development: a darkroom engine, his own film negatives, and prints that are never meant to be finished.
Harto is building toward something called Inflation: 24 flower-titled works, a pixel banknote, and a teaser that ends on 100 YEARS · 100 DAYS.
From an immersive comet in Mexico City to curating a team at RGBMTL in Montreal, Empress Trash closes out a busy 2026 with a work in the Francisco Carolinum Linz collection.
ROBNESS minted an artificial remix of Celentano’s gibberish classic into ROBNESS TELEVISION on SuperRare — reserve auction closed at 0.14 ETH to @cobotica.
From PXL DEX to POD and NET — and a Duo Pod turn at Art Basel Hong Kong — Kim Asendorf treats the pixel as both image unit and utility token.
Mark Rothko took a $35,000 Four Seasons commission, painted rooms meant to close in — then walked away after one meal. A short note on color-field power and refusal.
Van Gogh’s letters and Warhol’s taped voice did more than decorate biographies — they framed how we still read the work. A short note on context, and why artists keep leaving a trail beside the art.
Artifishal’s Fish Gospel hit Droop House mid-month; by late September Ord_Net was moving Thermal Forks, Megastructures, Zoe Louise, and a cluster of Sepim_art originals — with public BTC figures from ord.net.
Jack Butcher’s Credits turns each eligible $8 X Money payment into a CMYK grid artwork — early public counts are provisional, while Statement assembly and the 1,526 cap are locked in the project rules.
Elia Pieraccini’s PeePs is an Ordinals-native artist entity that learns through recursion — collectors as DAO custodians of a practice that only exists on-chain.
Paweł Dudko’s Noema is on view in an immersive digital gallery at Huashan 1914 Creative Park in Taipei — a physical chapter for work that lives in the light between architecture and image.
Architecture, code, and light stay tightly bound in Paweł Dudko's practice, from Art Blocks and Bitcoin inscriptions to 3D printing and spatial installation.
Michael Hafftka didn't come to Bitcoin as an experiment. He came as an artist with four decades of institutional weight behind him — and a clear argument about what lasts.
Rare Scrilla's practice is less about making new images than about insisting on where images belong — arguing, through every inscription, that Bitcoin was always a cultural substrate, not merely a financial one.
Claire Silver reframes AI art as co-agency rather than automation, where authorship emerges from taste, constraint, and the irreducible decisions of a human artist.
By weaponizing the "right to be deleted" and reclaiming the aesthetics of digital waste, Robness didn't just break the rules of crypto art—he rewrote the contract of ownership itself.
Mike Winkelmann didn't just sell a JPEG for $69 million; he showed up every single day for 15 years.
William Mapan weaponizes the algorithm to reveal the 'humanness' behind the screen, bridging artificial precision with human emotion.
From the latent spaces of early GANs to the recursive physics of Bitcoin, Francisco Alarcón (FAR) interrogates the technical apparatus behind the digital image.
From the digital slums of Tumblr to the white cubes of Art Basel, XCOPY has weaponized the glitch, forcing the art world to stare into the strobe-light of the blockchain.
Counterfeit Culture is one of the earliest and most influential forces in the Ordinals ecosystem, championing 'Art on Bitcoin' as a rallying cry.
Lemonhaze is the art world’s digital nomad—leaving breadcrumbs from Montreal to Saigon.
Lemonhaze treats the blockchain as a 'message in a bottle'—archiving not just art, but the raw, messy human experience.
The full transcript of the conversation with Sophia Spirlock from @fabled_btc.
