OpenGL "As it will render from my output device"

I'm trying to decide if I need to use OpenGL (there's no question I would use it if my videocard made it available, but that's another issue)
An excellent article about it is on http://www.tomshardware.com/reviews/photoshop-cs6-gimp-aftershot-pro,3208.html . This was referenced in another Photoshop discussion in this forum.
Before reading the article I reviewed http://tv.adobe.com/watch/learn-photoshop-cs4/using-opengl-optimization/  "Using OpenGL optimization" in which the statement is made "...so that I can actually soft proof sharpening as it will render from my output device."
Assuming that "output device" is referring to something that produces hard copy (i.e., a printer)... It has always been my impression that imagery displayed from a light emitting device (e.g., monitor) is inherently different from the same image displayed employing reflective light (e.g., hard copy).
A simpler example is designing a logo employing colors for a client in a remote location? No matter how well calibrated the local and remote computer screens are one can never be sure the artist and client are seeing the same colors (human eysight concerns notwithstanding). Furthermore if that logo is going to appear in hardcopy, it's still necessary to specify Pantone colors in the program and employ a (hardcopy!) Pantone source to  accurately communicate color choices to the client.
Question: How does OpenGL change the relationship computer graphics users have always had to hard copy?
Thanks

I don’t understand, but I’m fascinated.
Color “description” has been a philosophical conundrum for eons.
Since I’d not heard of FOGRA, I immediately looked it up. I was not able to get anything definitive (if you know of web sites that explain it well please let me know). What did happen as I perused web sites relating to the subject (including www.fogra.org which is in German; http://en.wikipedia.org/wiki/HKS_(colour_system)) was that many of them referred to or pictured swatch books not that different from the Pantone one I mentioned—and not as outdated technology.
So I’d really like to know:
What do you mean by “communicating color intents within a standardized environment” (unless that standard environment consists of a swatch book).
How might two lay people (not scientists, though I doubt it would be different for them, since it is basically a perceptual dilemma) might “communicate” any (Pantone) color using FOGRA standards and be ensured that each of them is having the same (reflective color) experience. (In other words, when push comes to shove it is about actually “seeing” the same colors.)

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