Barry Allen defends a highly unorthodox and compact account of humans and their evolutionary adventure, which comprises inter alia epistemological, alethic, technological, and artistic aspects. His anthropocentric view distinguishes itself from traditional forms of realism and anti-realism by virtue of its dynamic and non-reductionist character. Allen adopts a certain perspective of techno-artistic and onto-epistemic construction, which we dub "panartifactualism," claiming principally that nothing at all escapes the artifactualizing power of human beings. We maintain that, under closer scrutiny, various dimensions of Allen's account conflict and that his philosophical approach to "being" and "making" ultimately gives rise to a rather problematic ontological picture. Having pointed out its shortcomings and untenable results, we spell out the conceptual contours of a contemporary and far more attractive version of realism which suffers neither from the issues faced by views like panartifactualism nor from the obvious difficulties of noumenalist realism justifiably opposed by Allen.