To portray reality via only its polished surface and not its crumbling core can’t be the best way to approach representational painting. Not, at least, in the 21st century, when we are keenly aware of the shipwreck that humanity has been steadily navigating toward. When depicting contemporary life, it would only be accurate to include its grotesque, permeating defects. And this is precisely the idea behind Julius Hofmann’s glitchy, jittering scenes of an absurd, digitalized existence verging on post-apocalypse.