Remediation is comprehended as a process of the conscious reshaping of one media into another, while the experience of re-media is linked to the recipient’s visual experience and cultural habits. Technical innovations such as photography and film have reshaped the art’s performative strategies, while the always novel performative strategies of art have come to redefine the codes of “reading” the image. A long-lived union of two ideals – the timelessness and the illusion of space in the image – lost its meaning during the early 20th century, when the visual became integrated with the performative and the textual, whereby the classical image was counterpoised to the new-media culture of the world. With early avant-gardes, remediation happened as an eclipse, integrally or partially covering one appearance of the image with another, without either of them disappearing. After World War II, the neo-vanguard remediations of the image mirrored the existential reality, while the post-vanguard remediations mirrored the reality’s nihilist spaces. Ultimately, starting with the second half of the 20th century until the present day, the chain-like system of remediations gradually brought the image to a state of entropy, mirroring the reality in the fragments that make up a networking structure of media communications. Thus, the images-fragments confront the memory (the visible) and the oblivion (non-signified) while the cultural significance of the image is equated with the actual exposedness.