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equally in the version of the object one would encounter at a gallery or museum, the images and other representations disseminated through the Internet and print publications, bootleg images of the object or its representations, and variations on any of these as edited and recontextualized by any other author.27 To return to the founding question of this chapter—namely, how one can photograph the drone and its corresponding relations of power in light of its distributed status—Bridle’s Drone Shadows poses an inter- esting proposition. In utilizing the potentiality