Prince similarly rephotographs and recontextualizes found commercial and pop culture imagery, elevating mass produced photographs into fine art objects that interrogate authenticity and cultural desire, much as Collier does with the Meisel Madonna poster.

Levine's appropriation based practice directly engages with the material and conceptual status of existing images, questioning originality and the cultural weight of iconic photographs in ways that closely parallel Collier's scrutiny of the folded poster as both object and image.

Lawler photographs artworks and cultural objects in their everyday contexts, examining how presentation and materiality shape meaning, which directly mirrors Collier's interest in the physical and cultural life of a found photographic poster.