Biophilia expanded that practice through specially developed instruments and interactive ideas. MoMA documented instruments including a gameleste and gravity harp, showing how the project explored the physical production of sound as well as songwriting.

MoMA commissioned Black Lake with filmmaker Andrew Thomas Huang in 2015. A later exhibition, echolalia at the National Gallery of Iceland in 2026, presented Ancestress and Sorrowful Soil at a theatrical scale, showing the continued connection between her recordings, choral writing and visual presentation.

Biophilia was developed with interactive artist Scott Snibbe and design collaborators M/M Paris, alongside several specialist teams. Its ten song experiences connect musical structures with natural phenomena. The visual interface is part of the work: listeners navigate a galaxy and enter different interactive pieces.

The developer's account describes activities for making and learning about music as well as listening. This distinguishes the project from an app that simply plays audio tracks. The music, graphics and interaction were designed to work together, with individual contributors credited for different parts.

MoMA added Biophilia to its collection in 2014. Curator Paola Antonelli's account explains the acquisition in terms of interaction design: users can participate in the musical and visual experience rather than only watch or listen.

The museum documentation preserves authorship across Björk, designers, programmers and other collaborators. It also makes the 2011 work's date distinct from the later museum acquisition. Those dates describe creation and collecting, not two separate album releases.