Abstract
This article considers the role of visual materials in the afterlife of extraordinary state violence. It locates a series of drawings by Guantánamo Bay detainee Abu Zubaydah as embedded within and counter to the camp's existing visual grammar, where images of the camp and detainees work alongside state and legal violence to form the complex of forces that mark detainees as subjects to and subjects of (legal) death. Within these relations, detainee-produced drawings are vivid reminders of the tortured and forgotten bodies of state violence, and also the matter against which legal and political limits are both withdrawn and extended.
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