“How much of the painting is already in the TIFF?” With this query, John Kelsey—author, gallery director, and member of the art collectives Bernadette Corporation and Reena Spaulings—began his 2010 essay “100%.” The question hints at a larger concern that remains central to Kelsey’s work: In the current age of hyperactive networking, to what extent is painting, or art in general, already digitally encoded as soon as it enters the space of communication, even if it cannot be reduced to a purely communicative function? Or, as Kelsey himself put it in the catalogue for the 2012 Whitney