David Joselit’s art-historical work has approached the history and theory of image circulation in the twentieth and twenty-first centuries from a variety of perspectives, spanning Marcel Duchamp’s strategy of the readymade, in which commodities are reframed as artworks, to the mid-twentieth century ecology of television, video art and media activism and the current conditions of contemporary art under the dual pressures of globalization and digitization. Joselit’s art criticism has spanned all visual media and recently engaged extensively with contemporary painting.