As artificial intelligence draws increasingly on human data to shape its predictive systems, what memories are included and what remains invisible? Using my artworks The Library of Pulau Saigon (2015) and The Collector (2022), I explore how speculative histories and futures converge in digital spaces through my artistic research. I argue that these projects function as counter-archives – imagined repositories that confabulate in the absences in official histories. The Library of Pulau Saigon resurrects objects from a disappeared island in the Singapore River through touchable procedurally generated 3D printed reconstructions. The Collector turns 19th century commodities traded through Singapore with the world into tactile artifacts in a VR game, inviting audiences to sort them into absurd fulfilment bins, echoing the logic of contemporary e-commerce whilst critiquing extractive economics. Through these artistic interventions, I explore how artist-led counter-archives resist an algorithmic flattening, offering alternative modes of “unforgetting” in an age of data overload and post-capitalist amnesia.