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# PAMM’s first digital art commissions go to 21 artists
- URL: https://www.killscreen.com/pamms-first-digital-art-commissions-go-to-21-artists/
- Published: 2026-08-31T23:06:54.000Z
- Updated: 2026-08-31T23:06:54.000Z
- Description: 750 submissions from 50 countries came down to a cohort making video games, net art and CGI film across Latin America, the Caribbean and the African Diaspora.
- Author: Kill Screen Staff
- Tags: digital art, museum, Art, Miami, net.art, Game Art, exhibition

Pérez Art Museum Miami [named the 21 recipients](https://www.pamm.org/en/press/perez-art-museum-miami-announces-21-recipients-of-inaugural-open-call-for-digital-art-commissions/?ref=killscreen.com) of its inaugural digital art commissions in June—the museum’s first public open call for artworks, which drew more than 750 submissions from 50 countries. Each artist gets between $2,500 and $15,000 plus production support to realize new work by 2027, with backing from the Knight Foundation, and the call was scoped to South Florida, Latin America, the Caribbean and the African Diaspora: a deliberately non-default map of who gets an institutional digital commission.

A key feature is how much gaming has worked its way into the museum. Nestor Siré’s *NULL PRODUCT* series documents gaming computers assembled under material scarcity across Latin America and the Caribbean, “questioning who gets to define digital innovation,” per the museum. Juan Covelli—whose playable monument to Colombia’s 2021 national strike, *Los Caídos*, began as a Somerset House commission—is on the list. So is Malitzin Cortés (CNDSD), the Mexico City artist whose [announcement post](https://www.instagram.com/p/DZXlXDhkYhU/?ref=killscreen.com) put this one on our radar. Across the 21, the commissions span video games, 3D models, net art, CGI film, AI-driven animation, VR and generative video sculpture; the cohort is 43 percent women and 24 percent Haitian or Haitian-diaspora artists.

The jury—Casey Baron, Christopher Cozier, Gabriela Munguía, Samantha Ozer and Monica Uszerowicz—picked from a field the museum describes as running “from Cuba to Kenya, Martinique to Ghana.” Institutions making room for game-native work is a thread we keep pulling: in 2021 we talked to [Will Robertson and Alfredo Salazar-Caro](https://www.killscreen.com/will-robertson-and-alfredo-salazar-caro/) about building a museum inside VR, and this month we watched [four decades of consoles move into the museum](https://www.killscreen.com/achiampong-the-gaming-room/). The commissioned works land by 2027; the roster is worth mining now.

![](https://storage.ghost.io/c/25/84/2584b75d-4bd6-4cce-8259-f1d1c65abbb5/content/images/2026/08/pamm-maksaens-denis-bosou.jpg)

![](https://storage.ghost.io/c/25/84/2584b75d-4bd6-4cce-8259-f1d1c65abbb5/content/images/2026/08/pamm-unkle-luc-miami-2006.png)

Left: Maksaens Denis, **BOSOU*, 2021\. Right: still from Unkle Luc, **MIAMI 2006*, 2025\. Courtesy of Pérez Art Museum Miami.

Killscreen tracks the institutions finally making room for game-native art—and the artists getting there first. The free Radar newsletter keeps the map current.

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