Recent studies focusing on the digitalization of welfare provision draw attention to digital infrastructures that produce new forms of social inequality and disempowerment due to inaccessibility. Against this backdrop, we study the practices of a Danish public library in supporting citizens with digital applications for welfare benefits. Through a grounded theory approach to data collection and analysis, we draw on ethnographic materials and Catriona Mackenzie's multidimensional analysis of autonomy to conceptualize autonomy alliances and data care practices. These are collective efforts that attempt to subvert inaccessible and autonomy-undermining public digital infrastructures. Drawing on a relational view of autonomy, we examine how certain design choices can constrain citizens' personal autonomy and equal access to welfare services. For this reason, we discuss the importance of studying political decisions affecting the design and organization of digital welfare services, as well as the local practices that compensate for discriminatory design choices through social inclusion and a commitment to equity.

As digital technologies evolve at an exponential speed, the digital art scene has become ever more vivid in the past decades, with various forms of collaboration emerging between art museums, artists, curators, and audiences. While these collaborations are celebrated for their potential mutual benefits, such as knowledge exchange and the legitimizing effects on artworks, art museums struggle to maintain their relevance, and for this reason museum leadership has been deemed of critical importance. Historically, museum leadership has steered art museums through paradigm shifts using two approaches, namely, individual and relational. Nonetheless, the motivations for choosing these leadership approaches and their effects on guiding art museums into digital art remain unknown. In this study, we explore leadership approaches that contribute to museum‐studio collaboration on the creative output of digital art by tracing one of the enabling actors: creative studios. We choose this focus to understand how studios carry out the production and distribution of digital art in a collaborative setup. Through short ethnographic studies of two Copenhagen‐based VR art creative studios: Khora Contemporary and MAKROPOL, we argue that the choice of leadership approach in VR art production and distribution is contingently motivated by either market or knowledge‐oriented views of digital art. Consequently, contemporary art museums have the potential to become platforms that carefully negotiate ethical and contextual implications in leading digital art projects at the intersection of market and knowledge‐driven agendas.