In an interview conducted in 1983, Paul Sharits described his artistic process in dialogue with the perceptual givens of our physical world: “It has to do with the questioning of the normal usage of cinema which presents a stable image of the world. I know that the world is not stable, I know it’s atomic particles and dynamic forces…” This essay will argue that Sharits’ questioning positions him not only as a critic of illusionism, as Annette Michelson convincingly argued, but as an artist struggling to articulate an emergent truth about the nature of the world. Inspired by quantum theory and Michelson’s mining of “hyper-space,” a concept of fourth-dimensional reality that animated Soviet intellectual and artistic thinking in the 1920s and 30s, I argue for a reading of Sharits’ works on film and paper as possessing quantum affinities relating to concepts of superposition, entanglement, and uncertainty. By thinking through these affinities in relation to Sharits’ art, we will begin to understand how Sharits presents viewers with a reality about the way the universe is structured beyond our sensory perception. Doing so will productively complicate Sharits’ notion of “locality” while offering new readings of his engagement with the material, technological, and perceptual elements of the moving image.