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The Wrong

The Wrong is big. Really ridiculously, absurdly large. The sheer number and variety of works encompassed in this digital biennial is overwhelming, across its pavilions, curated pieces, and events. When this second iteration of The Wrong was about to launch, even organizer Guillo had not yet seen every work. The scale is mostly a positive thing — as someone fairly immersed in new media and net art, I found many pavilions filled with unfamiliar artists — it was great to break out of the digital art I’m exposed to through social media into currents of work that are farther afield. On the downside, the site offers…