Enter the millennial spectator. One hand holds the smartphone, the other a leaflet in which artists, curators, and the artworld aristocracy still pretend that art operates in a pre-smartphone world. But it is too late to get caught between incompatible modes of seeing, as our millennial is carefully dressed and in full makeup, the exhibition is a hunting arena, and they are after selfies to shoot. They are more a behavior than a person, but they have to be pushed into stereotypes for the implications to crystallize.

Some of these implications have to do with art’s reproducibility (Walter Benjamin’s aura, André Malraux’s imaginary museum), yet unlike older reproductions, which took shape after the shooting and away from it, smartphones are instantaneous, practically a third eye. And unlike older reproductions, which integrated the world on terms not so dissimilar to those of the reproduced artworks (both material objects disposed to...

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