Beginning with conceptual works in polymer-based 3-D printing that play between optics and objecthood, sound and shaped “volume,” this chapter then aligns the blind spot of reflected camerawork in photorealist painting (and its exceptions in certain works by Richard Estes and Chuck Close) both with earlier aspects of the trompe l’oeil tradition in painting (with its frequent inclusion of photographs) and with the more immediate auto-mimesis of the spectator in various conceptual mirror works, their implications traced back to the inset mirror of Velasquez’s Las Meninas.
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