Film stills are useful to Baldessari precisely because they are detached from the movie, cut away from their meaningful context. His inventory of film stills constitutes a deep image bank of 20th century American culture, a proliferation of images that haunt us, or at least those of us old enough to remember watching black-and-white movies on TV in the afternoons after school. Arguably those born after about 1980 have internalized an entirely different kind of image bank, a digital one, which exists without limits, instantly available, taking up no space, and requiring only a wireless connection and a screen.