This essay is focused on some cases (Roy Lichtenstein, Tano Festa and Giulio Paolini) of art-historical reproductions used as a visual resource for the artworks, occured during the 60s. Through the parallel investigation concerning the historiographic debate on reproductions and thanks to the notions of Intermediality and Remediation, this essay points out an unexpected interference between art praxis and Art History in the field of media. The resort to reproduction, as a tool for art historians and a visual resource for the artists, introduces new issues about methodology in Art History.
