Parker Ito

[8] This strategy was used in his body of work, The Most Infamous Girl in the History of the Internet, a project created while he was still attending California College of the Arts in Oakland.

[8] For this work, a popular stock photo which features a young girl wearing a backpack on a college campus was manually reproduced and manipulated through painting in several different styles and interpretations.

The use of hired hands was also notably used to produce the works shown at the White Cube gallery in London[8] for his exhibition Part 2: Nora Berman, Blackwidow LA, Parker Cheeto, Carey Garris, Justin John Greene, Celia Hollander, Daniel Lane, Lee Marshall and Orion Martin: Maid in Heaven / En Plein Air in Hell (My Beautiful Dark and Twisted Cheeto Problem), 2014.

Oliver Basciano for ArtReview described a 2014 exhibition: "I concluded that I really couldn’t give a s**t... a mirror, with no commentary, with nothing at stake, just a mire of Gen-Y nihilism .

Boasted as its champion or derided as a harbinger of its collapse, Parker has remained tethered to its ebb and flow in most critical discussions of his work.

Granted, this is far from incidental, as his production model willfully undermines (or at least f**ks with) the market's standing currencies: deliberately hyper-producing, refusing to subscribe to the usual signs of authenticity (like signatures), or exploding them to monumental proportions until they too become another visual motif.