Sherman's photographic practice similarly interrogates constructed identity and self representation through the lens of cinematic and media archetypes, using her own body as a mirror for cultural projections much like Gordon implicates the viewer in Kim Novak's legacy.

Pistoletto pioneered the use of reflective mirror surfaces combined with photographic imagery to physically merge the viewer into the artwork, directly paralleling Gordon's technique of fusing photography with mirror to collapse the boundary between self and image.

Marclay similarly appropriates cinematic and pop cultural imagery within conceptual mixed media installations that interrogate how identity and selfhood are constructed through our relationship to existing cultural representations and the gaze embedded within them.