The digital images on my computer’s desktop are not reproductions of paintings by Claire Corey but rather examples of the templates from which her canvases are produced. Corey composes her images by forcing various design software packages to do things they were not intended to do: Many elements of her visual vocabulary originated as glitches and errors. The resulting digital compositions become “paintings” when she prints them in ink on canvas. The artist has said she is engaged in “a dialogue with the history of painting” by means of technology. In particular, she reexamines the tenets of