Untitled (Epiphany of Circumstance) reaches into collective memory to bring forth ephemera that reconcile the often mass-produced historic document with the way we remember the history in its particularity. Leslie Hewitt repurposes both the tangible—Polaroid’s, wooden frames, personal objects—and the sensory—light, depth of field, shadow—to render vast visual and emotional landscapes. In her series Riffs on Real Time, Hewitt positions found material and personal snapshots together in pictured spaces whose building blocks could be found in a multitude of family archives. In presentation and in title, both Riffs on Real Time and Untitled (Epiphany of Circumstance) reaffirm some circumstantial conventions of the photographic medium—that light shifts composition and that cropping flattens perspective—whilst authoring new languages and forums in which to discuss our own attachments to and understanding of meaning and remembrance.