When figurative and representational art fell out of favor in the mid 1950s, Abstract Expressionism became the dominant movement in the art industry. The return and revival of figurative and representational Realism after Pop Art generated a new group of Realists, now known as Photorealists. Art critics disregarded Photorealism as a serious and viable aspect of contemporary art; most favored Abstract Expressionism. Most early Photorealists came from an Abstract Expressionist background, and were self-taught to paint pinpoint realistically with the help of cameras. To this day, the question is still asked, why paint something that looks like a photograph when the camera can do it for you in an instant? The idea of painting a painting to look like a photograph is a point that is constantly brought up by some critics and art viewers. Yet, it hinders the relevant point Photorealists are conveying through their painting. This paper discusses the main controversies surrounding Photorealism, including, 1) the artistic style and technique, 2) analytical content, and 3) its role in contributing to the growth of contemporary art, through four artist case studies from the 1960s to the present: Richard Estes, Robert Bechtle, Audrey Flack, and Park Hyung Jin. The paper also reinforces the argument that Photorealism is more than just a copy of a fleeting moment already caught by photography; it is artful in its own right, socially relevant historically and today, and continually evolving through new technological developments.