Sébastien Borget co-founded The Sandbox, one of the most significant platforms for creative expression in virtual worlds and Artverse Gallery in Paris. A long-time champion of digital art and NFTs, he has helped build one of the most substantial corporate digital art collections in existence, while advocating for open, artist-centred models of the metaverse.

Jason Bailey has been documenting, advocating for, and collecting cryptoart since before most people knew the term existed. His writing on Artnome — including a December 2017 piece that called the arrival of the cryptoart market before it happened — made him one of the field's most referenced early voices. He has since co-founded ClubNFT and Right Click Save, both essential to the infrastructure of digital art collecting.

Inna Modja is a Malian-French visual artist and musician whose photography and video installations draw on the legacy of West African photographers of the 1960s. She collects art as a form of cultural and social engagement — each work a window into our collective moment. She also co-founded Code Green, which uses art and blockchain technology in the service of climate and social justice.

The Spalter Digital collection spans more than 1,000 works, from early computer art and plotter drawings through to contemporary NFTs — a rare archive of how digital creation has evolved over decades. Works from the collection have been loaned to MoMA, the MFA Boston, and the V&A. Anne Spalter is also a leading digital and AI artist; Michael brings a deep knowledge of computer art history. Together, they represent the long view in a field that often moves too fast to look back.

Natalie Stone has spent 15 years at the intersection of art and technology — from VR experiences at Google with artists like Childish Gambino, to building the CryptoPunks programme at Yuga Labs, where she has secured placements at the Centre Pompidou, LACMA, and ICA Miami. Her approach to collecting is instinctual: drawn to materiality, to medium, to works where the hand of the artist is still legible.

Georg Bak has been advising collectors and curating digital art since before the current wave of attention. In 2018, he exhibited CryptoPunks at Kate Vass Galerie — at the time, an unusually forward-looking move. His practice spans Internet art, computer art, and generative photography, with a particular interest in building bridges between the pioneers of algorithmic art and the artists working today.

Founded in 2021, the Edicurial Collection is one of the more methodical approaches to collecting in the cryptoart space — thoroughly documented, regularly exhibited, and built with genuine historical intent. Elsie collects across genres and artists, with a focus on representing the full breadth of the cryptoart movement rather than chasing a single aesthetic.

Thefunnyguys built an exceptional personal collection of generative art — minting Ringers, Fidenza, and Archetype early, collecting 1/1s by Zach Lieberman and Sofia Crespo — while also co-founding Le Random, a platform dedicated to generative art with a growing archive, editorial, and collection. His focus is long-term: understanding which works will matter, and why.

Dominique and Sylvain Levy built the DSL Collection into one of the most significant private collections of contemporary Chinese art. Champions of new technology, they have consistently pushed the boundaries of how art is experienced — through VR, AR, and metaverse projects that bring contemporary art to wider audiences.

BBA describes himself as a "calculated degen" — someone who engages with crypto culture with genuine enthusiasm while maintaining a long-term collector's perspective. He has been accompanying the 100 collectors initiative since its earliest days in Lisbon, and has contributed his thinking on what this kind of network should be.

Colborn Bell is a co-founder of the Museum of Crypto Art, one of the first institutions dedicated to preserving and exhibiting digital art through blockchain technology. As a collector, he has long focused on marginalised voices and emerging creative practices — the places where genuinely new things are happening before they become widely recognised.