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For the great Pop artist Richard Hamilton, photography was implicated in modern painting from the beginning (Courbet, Manet, Degas…), and fundamental to his art is the exploration of this continued implication. Over his long career, Hamilton worked through several photographic formats as either source or structure of his pictures: the magazine advertisement, the publicity still, the fashion shoot, the postcard. At the same time he often found painterly effects already present in these formats. In his “tabular pictures” from the late 1950s to the middle 1960s, Hamilton was especially drawn to seductive passages in photographic sources that move from focus to blur, from finish to facture, and back again. Central to his work, then, is the tracking of the increased mediation not only of visual art but of our human sensorium as well.