For its right wing adherents, the absence of humans is a feature, not a bug, of AI art. Where mechanically-produced art used to draw attention to its artificiality – think the mass-produced modernism of the Bauhaus (which the Nazis repressed and the AfD have condemned), or the music of Kraftwerk – AI art pretends to realism. It can produce art the way right wingers like it: Thomas Kinkade paintings, soulless Dreamworks 3D cartoons, depthless imagery that yields only the reading that its creator intended. And, vitally, it can do so without the need for artists.

Javier Milei, a prodigious user of AI-generated art, wants Argentinians to know that any of them could join the 265,000, mostly young people who have lost jobs as a result of the recession that he induced, to the rapturous praise of economic elites. He wants to signal that anyone can find themselves at the wrong end of his chainsaw, even if doing so means producing laughably bad graphics for the consumption of his 5.9 million deeply uncritical Instagram followers.