The work of Sonia Sheridan (1925, Newark, Ohio – 2021, Hanover, Maine) employs various communication technologies, including computers and copier machines. In 1970 she founded the Generative Systems research programme at the School of the Art Institute of Chicago, providing a platform for a new generation of artists interested in emerging technologies such as reprographics and computer animation. In the mid-1980s she collaborated with John Dunn, using his EASEL software to computer-process images captured by a surveillance camera on her Cromemco Z-2D computer. The diptychs Sonia in Time (1985) show her face surrounded by computer screens featuring her image as recorded by a surveillance camera. Like a virtual mise en abime (where a copy of an image is placed within itself) these portraits suggest infinite space alluding to the numerous possibilities that the computer offers as a tool.