Photography had always been a medium betwixt reality and art — perhaps uncomfortably so. That is, the technical process of the camera, combined with the near universal four-cornered-ness of the resultant images, often made for an outcome more general in feeling, than say painting or sculpture — as well as being more formally expressive than hard textual journalism. Now, unexpectedly, photography is at the center of it all, beyond reportage and fine art. In the current age “reality” has shifted to unreality or virtuality; and the photograph is less a document and more a medium of speed — and talented, thematically acute quadrilateral capturers/presenters like Olya Oleinic, being hyper-architects of this new verisimilitude.