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Sept. 8, 2026 During fall arts season, there are always hot topics to consider. Right now, one of the livelier conversations involves Wisconsin-born digital creator Beeple (Mike Winkelmann) and his generative AI-driven installation "Diffuse Control" at the Madison Museum of Contemporary Art (MMoCA). Almost 900 artists and community members have signed a public protest letter questioning the consent and data ethics behind the technology used to create the exhibition. Museum director Paul Baker Prindle, meanwhile, has talked openly about the decision to present Beeple’s work, noting the creator’s extraordinary reach — millions of followers across social media — and the sheer size of the audience paying attention to what he does. His point is that museums cannot simply look away from a cultural phenomenon because the machinery behind it makes us uneasy. Fair enough. But it leaves me with a slippery question: What happens when our ability to believe in the art starts to fray? And how much uncertainty are we willing to tolerate before it changes the way we experience the work itself? I found myself thinking about this recently at The House on the Rock in Spring Green. As a child, I was a true believer. I grew up going there and remember the enormous lit-up carousel, the self-playing instruments and the little ritual of putting a coin into a machine and waiting for something improbable to happen. I kept returning as I got older, eventually bringing my own children. This last time, I was there with a son on the verge of college. We had both aged out of a certain kind of innocence. We had also acquired the adult habit of looking closely. Suddenly, the “British crown jewels” on display had lost their luster as dust mounted and gems came loose from their settings. The weapons, from multi-barreled flintlocks to pepperbox revolvers, appeared in such abundance that their origin was dubious, at best (some are clearly replicas created by museum founder Alex Jordan). And then there was the larger mythology of the place: a private collection assembled by an eccentric self-made visionary who supposedly hauled boulders up the hill to construct his dream. As a kid, I accepted all of it. As an adult, I found myself asking whether I believed any of it. A good friend, Johanna, saw my Instagram post about the trip and commented, “I feel so safe in that wild space for some reason.” I found myself nodding in agreement. There is something wonderful about entering a museum or collection and allowing yourself, for a moment, to surrender to the story being told. I don’t know if my skepticism and mistrust can coexist with wonder. But I plan on checking out "Diffuse Control" at MMoCA ready to find out. Tell me what you think. And, if you represent an arts organization, tell me what's on your calendar this fall. I’ll be posting a story with all of the local highlights soon. My email inbox is always open. Kelly Aiglon is digital editor at Madison Magazine and curates this biweekly newsletter. Reach her at kaiglon@madisonmagazine.com.
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