Tuan Andrew Nguyen’s videos, coming soon to the New Museum, tell haunting stories from the war.

They were crazy, cramped, messy and threatening — but the Happenings of the early ’60s just might be the missing link between Dada and today’s immersive art.

The work-in-progress “Song of the Ambassadors” got a test run at Alice Tully Hall — with Lincoln Center’s artistic director lending her brain.

The climate crisis is inspiring — and requiring — new perspectives in thinking for the London gallery, starting with “Back to Earth.”

There’s a new gallery show of his whimsical drawings — and coming this summer, an immersive art-and-science experience.

Ian Cheng’s latest: a narrative animation powered by a game engine and partly inspired by his two-year-old daughter.

With JR, James Turrell, teamLab and more, a new venture hopes to reinvent how artists’ works are shown.

Data artist Refik Anadol creates a swirling projection on steel for the Los Angeles Philharmonic.

The Propeller Group, Vietnam’s renowned art collective, as its members strike out on their own.

Millennial artists are anxious about tech and its future.

A year after his death, Alan Vega looms over the downtown art scene.

Thomas Pesquet, a Frenchman on the International Space Station, and the artist Eduardo Kac have created art in space.

Artists test the power of a new tool to create 3-D works.

A group sets out to preserve digital art before it’s too late.

A new exhibition at the Pompidou Center in Paris is the first major retrospective on the Beats since the 1990s.

The British artist has filled the cavernous space with works shaped by his obsessions and compulsions.

Collaborations in the 1960s presaged convergence today.

From the outside, the Whitney Museum’s new home in the Meatpacking District is an ungainly jumble of shapes. But inside it is expansive, light-filled, and open to the neighborhood, with galleries that flow out into the city on terraces and catwalks high above the street. And more than anything else, it’s a place that was designed to flatter art.

Karen is part story, part game and designed to be unsettling.

The newly opened Cooper Hewitt points the way for the immersive, participatory, digitally enhanced museum of the twenty-first century

The Panza Collection mounts a show challenging perceptions.

Building the world of “Avatar” meant inventing effects you’ve never seen before.

From “30 Rock” to “Barney Miller,” your favorite shows are now online, free and legal. Why Hulu is the new way to watch.

The future of advertising isn’t writing better slogans or using cool photography or video. It’s creating interactive stories people can explore over their phones, on the Web, maybe even through a flash drive hidden in a bathroom. It’s a new art form. Just ask Nine Inch Nails’ Trent Reznor.

Trilogies are done. CGI is ho-hum. Now Hollywood directors are tapping into the third dimension — starting with Angelina Jolie in “Beowulf.”

Second Life: It’s so popular, no one goes there any more. How Madison Avenue is wasting millions of dollars creating ads for an empty digital world.

How Jonathan Lethem wrestled the most outré science-fiction writer of the 20th century into the canon of American literature.

In a risky experiment, Chevrolet asked Web users to make their own video spots for the Tahoe. A case study in customer-generated advertising.

The company that created the transistor radio and the Walkman is at the precipice. If Sony’s new $600 console doesn’t blow gamers away, it may be time to say sayonara.

High rates, low tech—when it comes to cell phones, the US is the third world. The trend surfer who started EarthLink wants to sell you a fully loaded device from the wiredest place on the planet.

Consumers want an iPod phone that will play any song, anytime, anywhere. Just four little problems: the cell carriers, the record labels, the handset makers, and Apple itself. The inside story of why the ROKR went wrong.*

Web, WiMax, cell phones, and more: The sports powerhouse is about to be on every screen in your life.

We are not alone (again), but this time E.T. wants to kill us. How Steven Spielberg reinvented “War of the Worlds” in 72 days and learned to love digital filmmaking—fast.

Cell phones. Memory chips. Plasma TVs. How Samsung made Korea a consumer electronics superpower.

The inside-out story of how a hyper-paranoid, pulp-fiction hack conquered the movie world 20 years after his death.

That’s why the no-nonsense honcho of Home Shopping Network, Match.com, and Universal is poised to rule the interactive world.

Sony Music wants to entertain you. Sony Electronics wants to equip you. The problem is that when it comes to digital media, their interests are diametrically opposed.

As consolidation sweeps the content and telecom industries, FCC merger maniac Michael Powell has a plan: Let’s roll.

How DoCoMo’s wireless Internet service went from fad to phenom — and turned Japan into the first post-PC nation.

The European Commission has a mandate to shape new economy policy around the globe. It’s called borderless bureaucracy.

CEO Jean-Marie Messier’s deals with Vodafone and Seagram were a star turn on the European stage. As information becomes truly portable, a global media company paired with continent-wide distribution may prove an unbeatable combination.

Time Warner brings fat pipe and petabytes of content to the AOL party. Plus a little something extra: a long history of amazingly expert corporate infighting, ankle-biting, and all-around backstabbing. This is gonna be fun!

American pop culture was going to conquer the world, but now local content is becoming king.

Let others bulk up on cable. The Seagram heir is challenging Disney in theme parks and laying out billions to be No. 1 in music. Can this possibly work?

In fact, it just may be the weirdest business on earth. Today a handful of powerful CEOs are battling for the hearts, minds, and eyeballs of the world’s six billion people. But the harder they fight, the more they need each other.

Young, ambitious Seth Warshavsky is the Bob Guccione of the 1990s.

Striving to make his comeback, CAA’s superagent is now an unemployment statistic. Seven lessons to be learned from the fall of the image king.

Forget interactive television. Forget the 500-channel universe. Instead start thinking PCTV.

From 1 million to 6 million members in two years. Stock value cut by two-thirds in six months. Service outage, lawsuits, enough churn to leave your stomach churning. Now America Online wants to spend $300 million to get to 10 million subscribers by next year. And it’s talking about becoming a content company — the fifth network, no less. AOL: A-OK or DOA?

They blew it in Paris. They got thrown out of Virginia. Now, looking for a home on Broadway, Team Disney is pouring millions into one of the most crime-ridden blocks in Manhattan. What does Michael Eisner know that you don’t?

CBS thought Darren Star’s ‘Central Park West’ would make the network younger and hipper. CBS was wrong.

“Divine Rapture” was to have been producer Barry Navidi’s first feature. He had it all—$13 million to play with and Marlon Brando, Debra Winger, Johnny Depp and John Hurt signed. Yet the picture folded two weeks into the shoot. What went wrong? Welcome to Hollywood Accounting 101.

Ovitz will soon be president of Disney. His friend Ron Meyer is a honcho at Universal. But before they were big, they were already planning for the big time. It all started at the William Morris Agency . . .

Lew Wasserman has been shaking Hollywood since the ’30s. When Seagram bought MCA, was he really out of the loop, or was he king of the dealmakers to the last?

That’s the new philosophy of “non-ism.” It’s a hot button among baby-boomers, a strengthening force in Washington — and there’s lots of money to be made from it.

Visionary thinkers are rejecting the by-the-numbers approach to enterprise and seeking a new paradigm for viewing the world. Love and caring in the workplace? The profit motive less than preeminent? Major corporations are buying in.

Jay Gorney sells art that sends up collectors. Take “The Dung Market,” a canvas covered with baby-bottle nipples. Or “Disco’s Bed,” a rocking four-poster with spandex sheets and a Donna Summer soundtrack. “They hear tom-toms in the distance,” says a curator, “and they get out their checkbooks.”

John Baldessari chopped up his paintings, carted them off to the crematorium and had them reduced to ashes. Then he sat down, thought hard and got rid of all the extraneous stuff, like form and beauty. Now the art world has come around to his way of thinking, and the éminence grise of conceptualism is in the spotlight at last.

Alan Kay dreams of creating the ultimate personal computer. So why is he teaching school kids how to program a fish?

The mix of art, big bucks and hype has turned the art world into a frothy soap opera. Which brings us to Julian Schnabel . . .

Philosopher Hubert Dreyfus dares the “artificial intelligentsia” to come up with a machine that really thinks.

T.J. Rodgers was born to win, trained to conquer, but is he fit enough to survive?

Acolytes of high tech in Santa Cruz and environs speak of computers in terms once used for drugs: expand your mind through software! Frank Rose reports from a land some call Oz.

The story of artificial intelligence, and how to stay dry while it’s raining.

There are so many surfers in southern California that they’ve staked out scraps of beach and chopped up the endless wave. And from the melee emerges a new order of surfer, one who rides with Jesus and waits for Armageddon.

Scavenging through the artifacts of the Fifties and the attitudes of the Sixties are the brave new children of today. Like the beats and the hippies before them, they have something to tell you.

Start with five multileveled wings, lots of brass nuts and bolts, a crew of 25,000. Fuel it with the international concerns of the American people and the personal ambitions of the entire military establishment. Then cross your fingers.

So the New York rocker who practically invented punk—with three chords, sheer energy, and a rotten attitude—kicked heroin, bought a dinette set, and married Vera, who was, you know . . . normal.

“When I first saw the Ramones I said, ‘This is the best band in the world.’ I went up to them after the set and—‘You guys are great! You guys are great!’ That’s all I could say.”

The Bee Gees did it with disco.

He can look into an inter­viewer’s face and measure the determi­nation to report some­thing weird — as well as the anguish on realizing there’s nothing weird to report.