The argument of this paper is familiar, but hopefully developed in an unfamiliar way: that reproduction and commodification eliminate the need for aesthetic experience, even as they are the only way for a work of art to achieve immortality in a technological society of spectacles. They are the means of turning works of art into celebrated spectacles and artists into marketable celebrities. Two points of departure are Max Frisch's remark that "technology is the knack of so arranging the world that we don't have to experience it," and Daniel Boorstin's notion of the pseudo-event. I will argue that works of art have become pseudo-events and artists aspire, consciously or unconsciously, to become celebrities, who are pseudo-people. The result is a sort of psychotic artworld in which depersonalization and derealization are rampant. They are the inevitable outcome of what Ortega y Gasset famously called the "dehumanization of art."