There was something disquieting about Leslie Hewitt’s recent exhibition, titled “Riffs on Real Time,” which featured a sequence of ten highly stylized photographs by the same name, and a sleek installation, Untitled, 2011. Each of the photographs (all 2006–2009), while offering unique pictorial content, had been made using a single compositional template. A primary image (culled from sources such as the monumental archives of American history or the minor registers of personal histories) is centrally placed on a larger book, photo, or other document so that the image appears framed; in turn,