Before and After is about many things. Naturally, it is about the artists—Sherrie Levine, John Stezaker, and collaborators Larry Sultan and Mike Mandel—but that means it is also about the copy, the archive, and the signature. Thus, the exhibition is situated within a postmodern discussion of the histories, theories, and strategies of photographic practice. Before and After is devoted to the photographic—photography’s technical condition, its reproducibility, its currency and circulation, and its existential connection to the object it pictures. Sherrie Levine’s work can be taken as the preface to Before and After. Levine is the ‘before’ I have most obviously appropriated; she comes before my ‘after’. In his essay ‘Sherrie Levine’s Art History’, amidst an analysis of the double entendres in Levine’s titles, Howard Singerman states precisely the art-historical meaning of the word ‘after’: ‘to imitate or to copy, as in Marcantonio Raimondi’s engraving after Raphael’s Judgement of Paris, or Rubens’s Drawing after Leonardo’s Cartoon for The Battle of Anghiari, after Lorenzo Zacchia’s engraving’. Singerman writes as a further remark: ‘still in the same mimetic realm, it can mean to work in accordance with, in the same manner or style, or, indexically, to have been directed or molded by—as in a bronze or plaster cast’. Working in accordance with Levine’s procedure (that is, working as the dealer, curator, and critic, the collector and the museum—the ‘real agents of art world appropriation’—everything but the creative artist), I have (re)produced an after. This after aspires, so to speak, to enact a performative working-out, in collaboration with the viewer, of the question, who executes the work?