“By now, almost everyone would agree that the traditional Warhol-Richter-Walter Benjamin defense of the use of photography in painting, the “Art in the Age of Mechanical Reproduction” argument, and the chatter about “interrogating representation” or “investigating the problem of the photograph,” isn’t just dated, it’s shtick. We all know that photography is a remarkable and remarkably complex way of seeing and picturing the world; that the space between the photograph, the photographer, and the thing photographed is incredibly rich; that the graphic field of the photograph is often scintillatingly alive, specific, and very post-Renaissance; and that reproducing photographs in paintings once represented a significant repudiation of dearly held beliefs.” But…