We live in an absolutely saturated media environment of images that span ‘real’ and fake—whether it’s newspaper and tabloid photos, journalism itself, art and culture, or the human body. Images claim to be hardly distinguishable from the originals, while the virtual world is increasingly becoming ‘seamless’ in the real world. Kids today see a Clown Fish but instead impose their imagery of Finding Nemo. People interact with machines more than they do living beings. The narratives imposed by this technological and media culture are fast seeking to entirely replace the real world with a simulation of it. So what does that mean for the truth? The Industry of Fake explores the shifting boundaries and inequality in journalism and in art, as well as providing a basis to question this culture’s fascination with simulacra—a process of mimicry mediated by images that represents the real thing, but is not the real thing. What does it mean if we value our projections or stories about the thing as opposed to the thing in-and-of itself? What does this mean in the real world if we come to value our simulations or representations as more authentic things as opposed to copies or toxic mimics?