Miguel Angel Polick, Vanessa Karin, John Kevin Chávez, Estephanie Jaime, and Martín Tokeshi, like many other young people, are consumers of Japanese manga and anime. Their works reflect how Japanese entertainment culture has become an integral part of our urban landscape—both online and offline—establishing itself as a true global lingua franca for youth. The triumph of Japanese graphic culture is evident in the way its fantastical, strange, dreamlike, and/or futuristic images populate our screens and, in a sense, our imaginations. However, these five artists, rather than simply channeling their admiration for anime and manga (as is the case with "fan art," works created by fans to pay homage to their favorite characters), rework its visual tropes, explore its genres, and replicate its subcultures from the specific perspectives of their own experiences and ways of inhabiting the present. Miguel Ángel Polick explores "otaku" culture (fans of Japanese culture), recreating fan-subtitled anime DVDs, where these fans acted as translators and distributors of Japanese anime series. Polick focuses on a "fansub" group (fan subtitling) as a way to recover the memory of that period when anime culture began to expand and establish itself locally. Vanessa Karin takes hentai, a subgenre of anime focused on eroticism, as her point of reference. By manipulating these images, the artist seeks to represent desire and sexuality beyond our physical and moral limitations. The unreal nature of her figures makes them detached from any specific identity, allowing anyone to project themselves onto them, thus suggesting that desire is a force that permeates bodies and subjectivities without distinction. For her part, Estephanie Jaime explores the questions about the future tacitly raised by the Japanese animated series—populated by robots and space beings—that aired on national television during her childhood. Drawing on her early experience with Japanese pop culture and her perception of a magical yet plausible world, the artist questions the technologization of life, where the organic and the artificial are increasingly intertwined. John Kevin Chávez addresses the world of merchandising for animated series, using his childhood fascination with "Saint Seiya" as a point of reference. Chávez accounts for the success of the merchandising, alluding not to the original toys, but rather to their counterfeits, aimed at a broader (and less affluent) clientele eager for these products that, nevertheless, bore little resemblance to their television counterparts, as their packaging deceptively suggested. Martín Tokeshi recreates a table from those small fairs where independent producers and artists gather to offer a variety of products to the public, from artwork—including fan art—toys, handmade jewelry, vintage clothing, records, decorative objects, crafts, and more. Tokeshi's work seeks to evoke the self-managed nature of these circuits, as well as the precariousness of this "fair economy." The works brought together in "This Is Not Fan Art" are a testament to the enormous impact these cultural forms have had on our society, but above all, they reveal the imprint of a world experience mediated by screens (large, medium, and personal). In other words, this group of post-internet artists seems to account for how the overload of visual, virtual, and viral information is blurring the lines between the online and offline worlds.