Placing disproportionate focus on the digital proficiency of certain contemporary artists obscures the fact that networks and webs can be found in art made before the Internet, and manipulating imagery is possible with or without Photoshop. In other words, we are all post-internet now, regardless of generational demographics or personal levels of technological proficiency. This postdigital declaration leaves us with enough critical distance to consider why artists still appropriate, particularly when the practice has become so ubiquitous in the arts. One response is its effectiveness as tool for communication. In our globalized, post-Snowden web 2.0 culture, data aggregation, hacktivism, image scraping, and cut/copy/paste commands are not only efficient methods of artistic appropriation, but also powerful modes of participation in popular culture.