In the wake of the ‘visual turn,’ which began in the 1990s, the study of ancient Greek images has developed and intensified in the last decades. The visual turn concentrated on images of all kinds – not just what was viewed as ‘art,’ but images of every sort, including those we hold in our heads. In addition, the visual turn considered viewer perception of images, as well as images of images, the transformation of images, and their reuse, reference, and inference in every respect. In the study of Classical Archaeology, Greek vase painting has been one of the most fruitful fields for such investigations, generating numerous publications and debates. In recent years, the accent has been on contexts – archaeological, religious, social, historical – rather than on style and iconography, which had been dominant modes of study in past decades. In addition, attention shifted from the maker and the object itself to the viewer and user. This has been intellectually beneficial and produced new insights. New discoveries – and not only of vase paintings – are constantly reshaping our perceptions, and online accessibility of materials – for example, the Beazley Archive pottery database (http://www.beazley.ox.ac.uk/pottery/) – has accelerated and abetted the study of vase painting. But one shortcoming of these enterprises is their focus on a single medium – often, although not exclusively, vase painting (relief sculpture has received its due) – while other media of the ancient Greek world – not just freestanding sculpture, architecture, and wall painting, but also jewelry, gemstones, inscriptions, graffiti, plainware pottery, seals, tools, weapons, armor, to name just a few – have received less attention. One might object that studies of Roman copies of Greek sculptures have a long history in the field, but such studies usually concentrate on trying to establish the appearance of the original and determining what changes copyists made, rather than the phenomenon of replication in a more general way; and even if one does take up this subject, the ability to understand the idea of replication in ancient society (not only Roman, for Greek sculptures were also copied by contemporary sculptors in Greece) is limited because of a lack of evidence.