...Reality itself founders in hyperrealism, the meticulous reduplication of the real, preferably through another, reproductive medium, such as photography. From medium to medium, the real is volatilized, becoming an allegory of death. But it is also, in a sense, reinforced through its own destruction. It becomes reality for its own sake, the fetishism of the lost object: no longer the object of representation, but the ecstasy of denial and of its own ritual extermination: the hyperreal.
Realism had already inaugurated this process. The rhetoric of the real signaled its gravely altered status (its golden age was characterized by an innocence of language in which it was not obliged to redouble what it said with a reality effect). Surrealism remained within the purview of the realism it contested - but also redoubled - through its rupture with the Imaginary. The hyperreal represents a much more advanced stage insofar as it manages to efface even this contradiction between the real and the imaginary. Unreality no longer resides in the dream or fantasy, or in the beyond, but in the real's hallucinatory resemblance to itself.
An excerpt from "Symbolic Exchange and Death," originally published in Paris, in 1976.