In The Pygmalion Effect Victor Stoichita makes the astonishing claim that there is a libidinal component to mimetic production. Western art history—taken here to be a history of mimesis, of copies—has a dark, disavowed, erotic heart: the simulacrum. The simulacrum differs from the copy in that it is magical rather than mimetic, invites touch rather than merely looking, and is autonomous rather than merely derived from a model; Pygmalion’s statue is its founding myth. Arguing...