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This article starts from an observation: Some objects produced by generative AI look like works of art that already exist, thereby reversing the issues related to the indiscernibility between art and non-art. The ease with which these objects are accepted as works of art seems to be based on this resemblance, which needs to be questioned. It seems to subtly restore importance to the object and its appearance. AI-generated productions thus provide an opportunity to reflect on the relationship that contemporary art has to its objects. A question symptomatic of the issues discussed in this article is whether it is more appropriate to consider The Next Rembrandt as a new painting by a virtual Rembrandt or as a new appropriationist work by a virtual Elaine Sturtevant. One way to answer this question is to insist on the immaterial dimension of the works and the distinction to be made with the objects that instantiate them, in order to avoid any fetishism.