60 years later, we seem to have turned back the clock on [the] idea of the reproduction as a means of critical revaluation and as equalizer – not necessarily for the viewers of works, but for the work of art itself. The very nature of Google’s approach to digital reproduction, in explicitly varying the levels of detail between different works, re-invigorates the canon we’ve sought to challenge in the last century. Far from being re-examined or challenged, the historical heroes of art history are, literally, clearer to us in this digital architecture. No ‘real’ museum would ever choose a presentation which so adamantly reiterates faded ideas of the genius and the definition of the masterpiece without a critical framework. Such issues are happily forgotten when confronted with Google’s mantra of access to all, but it is worth questioning whether the age of digital reproduction – and its ability to stratify our vision of art – is really doing us, and the museum, any favours.