In October 2007, the digital imaging firm HAL 9000 published a 16.1 Gigapixel image of Leonardo Da Vinci’s The Last Supper, then the world’s largest image to date. Translating the immensity of a masterwork into a magnitude of pixels, HAL 9000 seemed to actualize the term “file size” and with it the manifest destiny of the entire computer lexicon: a virtual heavens, vaster and far more precise than the shadow world of its images. Increasingly, artworks exist foremost in this ether, as digital files to be printed on paper or on canvas. Their advents create a condition in which, as Boris Groys writes, each copy becomes an “original presentation of the absent, digital original”—original copies, in other words, each with an equivalent yet distinct relationship to the file that yielded it. . . .