“Life communicates itself to us through convention and through the parlor games and laws of social life,” observed Gerhard Richter. “Photographs are ephemeral images of this communication—as are the pictures I paint from photographs. Being painted, they no longer tell of a specific situation, and the representation becomes absurd.” That was nearly twenty years before Martina Grlić’s birth in Zagreb, Croatia, in 1982, but the patchy Photorealism she practices—the oddly specific way that arbitrary snippets of memory float over abstractly painted backgrounds of the nine paintings in her exhibition