There’s a week left to enjoy Interreality, an expansive, 35-artist group exhibition curated by former Night Gallery co-owner Mieke Marple and produced by Steven Sacks, founder and director of bitforms gallery, and Aubrie Wienholt, founder of PR for Artists that endeavors to bridge the seemingly gaping chasm in the art world between the digital and analog artistic landscapes. On view at until November 25th, Interreality features work from pioneering artificial intelligence artist Refik Anadol alongside work from heavily analog artists such as Cindy Phenix.

It’s telling, perhaps, that the jargon associated with things that are analog or digital is broadly geographic: the digital world, the analog realm, the physical landscape. So often when we discuss these spheres of operation and how they relate to each other we use the word bridge. The language we use to describe these topics informs the way we’ve always thought of them is inherently oppositional to each other: when you're talking about merging two worlds– two separate universes– there can be no positive language that describes their collision.

However, the digital and the analog aren’t separate worlds. They aren’t separate universes or spheres or landscapes. The digital and the analog already exist, together, within our world– yet it still seems difficult for many within the sphere of artistic distribution and criticism to allow the two to coexist. The paradigm that has separated the digital and the analog must be realigned, and Interreality, the 35-artist group exhibition at Desmond Tower just a few blocks from LACMA, has endeavored towards its realignment. Produced following conversations around LACMA’S summer exhibition, Coded: Art Enters the Computer Age, 1952-1982, the group exhibition examines how the public perception of the physical and the digital– specifically in the art world–might be reimagined in a world where the jurisdictions of the two increasingly overlap.