In the provided context, blockchain is presented as a decentralized digital protocol that records and supports the existence of artworks, tokens, and ownership structures. It functions not merely as a technical infrastructure, but as a medium through which conceptual and crypto art can question how value is created, assigned, and circulated. In Kevin Abosch’s practice, blockchain becomes central to works that directly engage with tokenization, scarcity, and the commodification of artistic identity. For example, in I AM A COIN, Abosch tokenized himself on the Ethereum blockchain by issuing 10,000,000 divisible ERC-20 tokens, while also linking the project to his own blood and a smart contract address printed in physical works. In Forever Rose, a single ERC-20 token existed only on the blockchain and was sold to a syndicate of collectors, making scarcity and speculative value part of the work’s conceptual frame.
The context also describes blockchain as a system in which value is secured through decentralized consensus rather than through traditional financial institutions or centralized art institutions. This makes it relevant to the broader discussion of crypto art and NFT-based exhibition platforms, including Tezos and Ethereum, where works are minted and circulated. Within this framework, blockchain is both an archive and a market structure: it preserves works, establishes uniqueness, and enables new forms of digital artistic experimentation. It is also associated with the shift from Web-based art toward a new medium shaped by decentralized networks.