Bitcoin Hologram #4 presents a Denisyuk hologram of a Bitcoin coin suspended in a shallow glass plate, its image shifting between presence and absence depending on the angle of light and the position of the viewer. Sarah Meyohas, known for her rigorous engagement with systems of value, speculation, and the aesthetics of technology, channels those concerns here into one of the oldest and most optically demanding forms of image-making. The Denisyuk method, developed in Soviet-era physics research, records light interference patterns directly into a photosensitive emulsion, producing an image that exists not as a print or a photograph but as a literal encoding of light itself. The result is an object that seems to materialize and dissolve in real time, making the coin simultaneously hyperreal and fundamentally unreachable. The choice of Bitcoin as subject is precise and purposeful. Meyohas confronts one of the defining paradoxes of contemporary finance, a currency celebrated for its decentralization and immateriality, rendered here in the most physical, handcrafted, and irreproducible optical medium available. The hologram does not satirize cryptocurrency so much as hold it in suspension, asking what it means to visualize a store of value that has no physical form, no sovereign backing, and no stable referent beyond collective belief. The work arrives framed within a lineage that includes Meyohas's earlier investigations into stock trading performance and data visualization, extending her inquiry into the invisible architectures that organize modern economic life. Measuring 40 by 29.8 centimeters, Bitcoin Hologram #4 is intimate in scale yet commanding in presence, and works effectively in both domestic and institutional settings. The piece is signed by the artist and offered through Nguyen Wahed Gallery. Given Meyohas's growing critical profile and the relative rarity of fine art Denisyuk holograms in serious collections, this work represents a compelling acquisition for collectors engaged with the intersection of conceptual practice, optical science, and the cultural history of value.