Nick Fudge's first solo exhibition Reality Drive presents a selection of digital images made while the artist was living in New York City in the mid-1990s. His American works explore digital imaging as the "desertification" of the meta-modern image, what Baudrillard calls the ‘vanishing point’ of simulacra. His work has evolved alongside the development of personal and cloud computing, and since 1992 has explored similar concerns to those raised by Claire Bishop (2012) in her article 'Digital Divide' in Artforum: "...why do I have the sense that the appearance and content of contemporary art have been curiously unresponsive to the total upheaval in our labour and leisure inaugurated by the digital revolution? While many artists use technology, how many really confront the question of what it means to think, see and filter affect through the digital? How many thematize this, or reflect deeply on how we experience, and are altered by, the digitization of our existence? I find it strange that I can count on one hand the works of art that seem to undertake this task..." (p.436).​ Fudge is one of the few artists who has been making post-internet art since the early 1990s (cf. Paenhuysen, 2015, who writes about Fudge: "In the 1990s, Fudge started off by thinking about the Internet in a 2010s, post-Internet kind of way. But in the 2010s, this same work is also an exploration of the media archaeology of the 1990s"). As Paenhuysen points out, Fudge’s digital works engage with the teleology of digital media (and its archaeology) in order to structurally examine what it means to use digital imaging software to construct an image. This is significant because digital imaging programs have fundamentally changed the way an image is captured and constructed - the processes that are fundamentally different from image processing in the era of analogue photography, painting and printmaking.​