John Divola's Vandalism series, created between 1973 and 1975, is a series that both documents and transforms abandoned houses in Los Angeles by applying abstract patterns to the walls with spray paint and photographing them. The artist transforms the walls from a mere backdrop into a space open to intervention, each intervention makes visible the entropic reality of the space and the position of photography between fiction and documentary. In his current works, the placement of images generated by artificial intelligence algorithms on these deformed walls carries the destructive spirit of the series into a post-digital dimension, creating a bridge between analog and digital production. AI images, combined with cracks, damp stains, and paint deformations, produce hyperreal layers; architectural reality is no longer merely imitated, but reconstructed. This process, coinciding with Baudrillard's concept of hyperreality, creates a level where representations between the wall and the photograph replace reality. From Debord's perspective of the spectacle society, space and visuals now present a spectacle perceived through media and representations rather than direct experience. While the photograph's claim to record is questioned, the viewer simultaneously experiences both physical intervention and digital reproduction. Thus, Divola prompts a rethinking of the relationships between space, representation, and algorithmic production in both aesthetic and social contexts; she makes visible the post-anthropogenic, media-driven, and algorithmic dimensions of contemporary art, and critiques the methodological vicious cycle of contemporary art through the continuous cycle of reproduction and re-representation.