I’m not above taking photos at art exhibitions. There are some very good arguments for doing so: to capture detail for research, to linger afterwards on what you particularly appreciated, to show friends and family, or to post on social media. A curator friend also notes that it can help with gallery communications at a time when budgets are being slashed and the pressure to increase footfall is more intense than ever. Being allowed to take photos and post them to social media often boosts visitor numbers quite dramatically. But the proliferation of photo-taking – and selfies – now seems to have reached a critical mass, to the point where there is no longer either mental or literal space for direct engagement with the work. Instead, that engagement is mediated by a screen. It is disrupted and distanced – leading to the kind of detachment the Marxist theorist and philosopher Guy Debord presciently identified as a condition of the mass culture of late capitalism, when he wrote The Society of the Spectacle in 1967. “All that was once directly lived has become mere representation,” he wrote.