When abstract painters pioneered the color field as a final solution to the problem of what Clement Greenberg once called “homeless representation”—the intrusive traces of mundane and redundant images left over from a world of signs irredeemably banalized by business and publicity—they could not have foreseen how, precisely because mass-mediation is itself an idealizing and abstracting process, its products—tele-icons, trademarks, and simulacra of all kinds—would prove so compatible with the sublime voids and yonders of the painted field. The montaging of the Minolta mark, or George Bush’s