The painter Nina Mushinsky finds and photographs her images in outlandish settings and turns them into paintings in her intimate studio, paintings which impose a sense of displacement. Mushinsky shows a remarkable concentration that combines real experience with visual illusion. She is working along the edges of reality by using both modern technology—photography—and traditional painting. Her unearthly grisaille is situated between these two media. In Mushinsky’s work, there is a relationship between technical, impersonal methods and gentle sensitivity. Mushinsky’s pictures might apply to such issues as appropriation of already existing images, hybridization, and the mixing of genres. In photography, the moment is immortalized, with the assumption that it is preserved for eternity. Paintings, however, are not tied to the instant, but are “timeless.” Mushinsky’s paintings, as well as her photographs, show both sides of the story. Mushinsky takes a picture, then takes sometimes years to print it. And then she sets the print aside before she paints it mostly from memory. The memory of a memory of a memory, that is how one could describe her painting. There is nothing instant in Mushinsky’s photographs except perhaps her sleight of hand. Three decades of photographing what she may eventually end up painting thought Mushinsky to sneak in advance the final result into the original picture. The premonition of a memory of a memory of a memory, that is how one could describe her photography.