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Certified Copy, Certainly

When I return to the Museo del Prado this summer and gaze once more at Francisco Goya’s The Third of May 1808, I will think of Walter Benjamin. His seminal essay, “The Work of Art in the Age of Its Technological Reproducibility,” is as frustrating as it is a necessary document in the study of all text: art, film, or literature. Benjamin’s thesis pivots on three questions: how artistic production is affected by machinery and industry, what this technology does to the authenticity of a work of art, and from where art in an industrial, machine-led world derives its value.

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