Recent Projects


The Challenge: Visualize Your Taxes

We give you the numbers; you make them speak to us.

Every year, Americans fill out income tax forms and make their payments to the IRS. It’s an important civic duty, but do we really know where our tax dollars go? Using data provided by, Eyebeam challenges you to create data visualizations that make it easier and more interesting for taxpayers to understand just how the government spends our money.

Our expert jury will be awarding $10,000 – including $5,000 for the top interactive web application, graphic, or video submitted by an individual or a team. All winners will be featured on, the Official Google Blog,, and Fast Company’s design blog, Co.Design. You must be a U.S. resident and 18 years of age to be eligble for an award. Entries are due midnight, March 27, 2011; winners are announced on Tax Day, April 18.

Eyebeam believes that open culture, creative design, and compelling data visualization have the capacity to make information transparent, educate citizens, and change communities. The Data Viz Challenge is a call to action – to show and to see how our tax dollars are spent.

Check out to learn more about the challenge, view examples, and get the data.

Live in the NYC area? Join a team of data viz all-stars to get hands-on support in designing your own visualization on February 26 at Eyebeam. Register here.

This challenge was created by Eyebeam and Google, with data provided by


OPEN INTERNET is a public intervention

video: 4:06 min

Aram Bartholl "I've been looking at these cheaply produced, super low resolution LED signs (the IRL animated gif ;-) for a while already. End of last year I filmed this meaningful pair in a kiosk window in Berlin and fell in love with them. First I used the picture for the SPEED SHOW 5 title in Paris but I had to take it a bit further. :) You find LED signs in any shopping window especially in EU these days. There are also many OPEN signs in US but hardly any INTERNET signs. I had to change that! :)

The OPEN INTERNET intervention was produced during my residency stay at EYEBEAM."



'How to make your own MOMA artist pass' is critcal DIY tutorial which tries to raise awareness on how media- and Internet based art and artists are underrepresented and often ignored by the big players of fine art institutions like MOMA.

published on F.A.T. 1st of February 2011


1. Download your pass here.
2. Print it on heavy paper, both sides.
3. Insert your name with a pen.
4. Visit MOMA a whole year for free!

You are only eligible to obtain an MOMA artist annual pass (25,-$) (regular entrance fee 20,- $ !!!) if you can proof  that you had 'OFF-LINE' !!!  art shows. Can you believe that? Online art doesn't count in?!? We need to change that.

The making of the Free MOMA pass:

Let's scan this!

It seems I am artist number #7156 which got an artist pass. (This year? Since the system was implemented? Doesn t matter in fact.) The  entrance guard will just scan the code and look at the read out if the pass is valid. Code format is CODE_39. Ok nice!

Let's scan the whole thing in high res!

We better generate that magic code A000000000007156 again at Online Barcode Generator for better print quality  :-) You might wanna also just become the artist pass owner #7155 in case they kick Aram Bartholl out of the DB for some reason. ;-)

Done! I recommend the Andy Warhol: Motion Pictures show on 5th floor. Awesome! Let's meet for a make out flashmob in that 'exhibtion' cinema ;-)
You might also just go to Free Friday Nights, held every Friday evening from 4:00 to 8:00 p.m :-)]


In 2007 Brooke Singer produced an online data visualization site, Superfund365 (, exhibited at Eyebeam in 2008 as part of the Feedback exhibition.  The project and web site highlighted a different Superfund site or the worst contaminated sites as designated by the EPA each day for a year. Currently she is working on a photography and book project drawing from that large online archive and her experiences visiting communities across the nation affected by Superfund. She is choosing which sites to photograph with her large format camera for a variety of reasons: the site has a fascinating history, a site’s stakeholders are in contention over its future use, a site’s history is exemplary of how places become contaminated or a site appears anything but toxic. Sometimes an eloquent user contribution to the online archive compels a visit. Many of her photographs capture the extreme ordinariness of the locations (they are everywhere). Some of the places are rendered invisible through their neglect. Others have all but erased their Superfund status through new uses over time.

The project is as an alternative history to the United States. It traces the development and confluence of industry, economy, land use, ecology and environmental health over time.

When Brooke began working on Superfund issues, there were no sites within New York City. In 2010, two sites in Brooklyn, Gowanus Canal and Newtown Creek, were designated Superfund. For this reason this story is particularly important for New Yorkers.


For most of the 200,000 women in the United States diagnosed with breast cancer each year, medical imaging is the entry point into the disease. Yet, rarely does a woman get to see her M.R.I. or get a sense of the shape or physicality of the malignancy inside her. Research suggests that tumor visualization can be an important aspect of dealing with the aftermath of cancer, with positive psychological and possibly physiological effects on patients.

After a personal diagnosis of breast cancer, with the help of radiologists we digitally imaged breast cancer tumors obtained from the M.R.I.’s of patients and friends. Through a complex process going from medical imaging to 3D software, which we elaborated during our residency at Eyebeam, we produced concrete forms of breast cancer tumors on the Stratasys Dimension 3D printer. From these 3D prints, we made molds and cast the tumor forms into personal pendants, fetishes, sculptures and an installation. These objects are externalizations of unseen malignancies, which stand in for the extracted tumors.



In the Counter Kitchen (TCK) we will be turning things upside down from the inside-out. Science and marketing have made product labels nearly impossible to decode. Learn how to reverse engineer your favorite food, personal care and household products using TCK tools and measurement systems. We will simultaneously turn you into a translator, detective, chemist and cook. Stop by to take a whiff, stay a while to help us in the kitchen or bring a product for us to explore.



An iterative series of tipis built to evoke particular dreams and wishes in the participants.  Loosely based on the lecture of William Burroughs in his class on The Technology and Ethic of Wishing, the pieces employ a form of psychosomatic magick: the use of symbolism and technology to elicit the sense of the auratic and sacred.

Each iteration of Otherly Engagements is site-specific, a heterotopia that simultaneously interacts with, transforms, and divides the spaces they occupy.  As the iterations progress, the designs will become increasingly coded with symbolism, but one that is self-referential, evoking previous incarnations and meanings.


Thumbnail is a simple website that allows visitors to create and share animated .gifs using their webcam.


‘Dead Drops’ is an anonymous, offline, peer to peer file-sharing network in public space. I am ‘injecting’ USB flash drives into walls, buildings and curbs accessable to anybody in public space. You are invited to go to these places (so far 5 in NYC) to drop or find files on a dead drop. Plug your laptop to a wall, house or pole to share your files and date. Each dead drop contains a readme.txt file explaining the project. Full documentation, movie, map and ‘How to make your own dead drop’ manual at


The lunar topographic data from NASA's Clementine LIDAR mission represents the surface of the Earth's moon in a set of more than 1 million points of latitude and longitude. Paul Robertson's Plops animated gif seamlessly morphs between thirteen characters from Japanese anime and video games over the course of 72 frames. In Meyers' moon, these two disparate data sets merge into an image simultaneously familiar and alien. Psychedelic colors and an undulating sea of pixel art characters take the form of the most familiar celestial body of the night sky.