Adams says his biggest misgiving with Instagram is that it seems to “represent a liquidation of marginal experience.” Waiting at a crosswalk suddenly becomes a moment to be transformed into content (or to check in on how your content is being evaluated). There’s less time to simply exist outside of production and consumption. Life becomes limned by phone-pickups and the buzz of notifications. “If you could say marginal experience is a kind of public good, then the whole thing seems like a typical piece of neoliberalism. It extends the possibility of instrumentalization to almost all waking moments.” It reprograms us to seek out content to be recorded all the time, turning our minds into their own kinds of cameras, knowing that we could always be posting, hoping for the most likes. It also demands a certain immediacy, not only reframing how we see, but how we allow ourselves to process what we’re taking in, possibly turning the artist into a half-baked influencer chasing abridged ideas and images. “It requires carrying the possibility of using it along as part of one’s way of seeing all the time.”