The White Cube taught us to look at an artwork without the noise of the surrounding world. Green Screen proposes the next step: learning to see the artwork simultaneously in its material presence and within a space of connections that is no longer required to fit inside museum walls.

Today, digital culture has transformed the very notion of context. Context no longer has to physically surround the artwork — it can exist in parallel. Green Screen does not propose abandoning the White Cube, but taking the next step: dividing the object and its context between two interconnected spaces. The physical gallery remains a place of direct encounter with the artwork, while the digital space becomes a place for its manifestation, expansion, and continuation.

Why, half a century after the critique of the White Cube, are almost all galleries around the world still built according to the same model, despite the fact that most cultural life already exists simultaneously in physical and digital spaces?

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