**6. Conclusions**

There is no doubt about the importance of the image throughout the history of humanity, but it has been accentuated in recent times; technology has democratized the possibility of portraying and being portrayed. Here we have shown that the Law is concerned with protecting it, although it does not always provide correct solutions given the diversity in existing norms and their different judicial interpretations.

The right of privacy and the right of publicity are not enough to face the challenges of the digital resolution of images and the interpretation of the doctrines and case law are not enough to resolve the conflicts that arise. It is necessary to develop a new generation of rights that protect the personal

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image of the creation of avatars that try to reproduce it, the replacement of essential characteristics that define it, and the rude retouchings to which it is subjected.

For models that make professional use of their image and that sign contracts for this purpose, it is advisable that they establish clauses that:


As there are not many jurisdictions that have rules that force advertisements to inform the consumers that images have undergone digital manipulation, it is vital that countries adopt this legislation.

Lil Miquela works as a model for Prada, giving interviews from California and has more than 1.5 million followers on Instagram. She is only a bundle of pixels since it was designed by the technology company Brud, who initially concealed its origin when it was launched in 2016 (Hsu 2019). That is how the first completely virtual model appeared, not conditioned by any legal parameter. Faced with situations like this and the descriptions of real models that use their image as an instrument of professional work and su ffer the manipulation of it, us jurists must study the social e ffects of the hyper-reality that the market creates to generate proposals that contribute to the balance of the real with the virtual, respecting rights and personal and cultural essences.

**Funding:** This research received no external funding.

**Acknowledgments:** The author of this paper would like to thank Luis Denuble and Natalia Tenaglia—Argentine lawyers residing in New York—for their help in searching material on the right of publicity. She would also like to thank Cecilia Irrazábal for her professional assistance in the English version of this paper.

**Conflicts of Interest:** The author declare no conflict of interest.
