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Hyperrealism has played a key role in contemporary art since the early Sixties. After analysing the theoretical reasons lying at the core of the centuries-old blame of illusionistic artworks which stake everything on the annihilation of any difference between the image and its referent, this essay shall also show why and how what was traditionally regarded as both an intrisic and insourmontable weakness could become a highly praised, albeit problematic plus point. To achieve this goal, I will focus on a paradigmatic case study such as Duane Hanson’s Lunch Break, as well as on its reinterpretation and remediation by Sharon Lockhart.