Clement Valla, 48 50.159 Saint Barbara, Surface Proxy (2016), Photo by Vinciane Verguethen, courtesy curatorial office, Paris

After-Images Perception in Flux.

February 16, 2026

Sarah Maria Lillig

Eliza Douglas in Anne Imhof’s Angst II, 2016. Performed at Hamburger Bahnhof, Berlin, 2016. Photo: Nadine Fraczkowski. Courtesy: the artist, Isabella Bortolozzi Galerie, and Galerie Buchholz.
Dominique Gonzalez-Foerster, chronotopes & dioramas, 2009, installation view, Dia at the Hispanic Society, New York City. © Dominique Gonzalez-Foerster/Artists Rights Society (ARS), New York. Photo: Cathy Carver
Liz Deschenes, Untitled (Claude Glass 1), 2023 © Courtesy of Liz Deschenes and Miguel Abreu Gallery, New York, Photo: Stephen Faught
Peter Hujar, Self-Portrait (I) Jumping, 1974 © The Peter Hujar Archive / VG Bild-Kunst, Bonn 2026
Peter Hujar, Will: Shar-Pei (I), 1985 © The Peter Hujar Archive / VG Bild-Kunst, Bonn 2026
Michaelina Wautier, Zwei Mädchen als Hl. Agnes und Hl. Dorothea, um 1655, Royal Museum of Fine Arts Antwerp, Collection KMSKA - Flemish Community , Courtesy RCA, London and Kunsthistorisches Museum, Wien.

In the post-digital era images and their after-images are increasingly co-fabricated.

Hito Steyerl, Animal Spirits, 2022 (still). Single channel HD video, live computer simulation, sensor devices, glass spheres, organic materials. Duration: 24 min; simulation duration variable; dimensions variable. Courtesy the artist, Andrew Kreps Gallery, New York and Esther Schipper, Berlin/Paris/Seoul. Still © Hito Steyerl / VG Bild-Kunst, Bonn 2023
Vytas Jankauskas, LIFE FOREVER (2025). Courtesy of the artist.
Surface Proxy, Inkjet on belgian linen over CNC milled foam sculptures 2015, XPO Gallery, Paris France - courtesy Curatorial Office
Gregory Chatonsky, Install shots, Terre Seconde, Palais de Tokyo, Paris 2019. , courtesy de Grégory Chatonsky, photo by Jeanchristophe Lett.
Still from RMB City: A Second Life City Planning (2007), which featured a 3d model of the city prior to its opening in Second Life.