THE PATH from the Epson tray to the gallery wall to the museum collection has never been shorter. Over the past decade or so, we’ve seen scanners, plotters, and all manner of digital-reproduction devices become thoroughly naturalized as tools for art production, and artists who engage directly with postphotographic reproduction technologies have become canonical at midcareer. Today, a younger generation has moved on from flatbeds and ink-jets, now as tinged with nostalgia as a slide carousel or a bank of CRT TVs, to emerging technologies whose problems and implications are not yet fully articulated but are sure to be radically different.
Art produced with nascent technologies often positions itself as reflecting on their potential disruptive impactdissecting new regimes of production and consumption before they’ve been fully disseminated and adopted, in a kind of hands-on
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