When the Museum of Modern Art announced in 1996 that it had just acquired Sherman's complete Untitled Film Still series, the curators knew they had laid claim to one of the most representative works of the early 1980s American movement of "appropriation," and "simulationism." Both terms refer to American artists' mimicking, in the first half of the 1980s, former art masterpieces or widely circulating images in the mass media, and critically reworking them to arouse a sense of unease in the viewer, indeed often suggesting that culture had become largely a game of theatrical posing and egoistic pretense. As Peter Galassi, then-curator of photography stated, "Sherman's singular talent and sensibility crystallized broadly held concerns in the culture as a whole, about the role of mass media in our lives, and about the ways in which we shape our personal identities. Here, Sherman takes on the role of the small-town girl just happening upon the Big City. She is, typically, at first suspicious of the metropolitan lights and shadows, only to be eventually seduced by its undeniable attractions.