In Part I, I covered the historical impact of photography on modernist art (1850s-1950s). The modernists deplored the use of technology and favored art focused on beauty, continuity, and form through painting and hand made objects. As such, modernists did not accept photography as a legitimate art form in part because they feared the impact of technology on the value of art.  In Part II, I showed that during the 1910s an art movement began in response to World War I, generally known as the Avant-Garde. Unlike the modernists, Avant-Garde artists used radical strategies such as submitting manufactured objects (e.g., a toilet), photography, and collage to exhibitions with the goal to debase modern art, to imbue politics into the art world, and bring to awareness the importance of concept over beauty. Although the Avant-Garde uprising of the 1910s failed to achieve its goals, the resurrection of Avant-Garde art in the 1960s marked the fall of modernism and the rise of the postmodern. As postmodernism gained momentum, photography started to have greater relevance in the art world. I ended Part II by asking how Avant-Garde iPhoneography was influencing relationship between art and technology.