The edges of Olson’s photographic objects (Plexiglas, dye sublimation print on aluminum, MDF) extend out from the wall to the viewer like blinders, corralling them one at a time, providing direction for singular events of looking. Any greater focus of vision would require a strapping in. If to any recognizable degree the photographic continues to retain a general factuality, then it would be the case that one of the projects of Olson’s photographic work is to summon multiple truths simultaneously: why else would the artist insist on the image of the mirror, a mirror verifying nothing for the viewer save its utilization by the artist? To fix the mirror, which is to picture static something that, at its core, exists as the site of full reflexivity, is a decision that reminds the viewer of the limits of their reach. The temperament of assuredness relies on the collection of many half-truths.