Negative Dialectics in the Google Era: A Conversation with Trevor Paglen by Julian Stallabrass :: OCTOBER 138, Fall 2011, pp. 3–14.

In the last seven years, in a series of performances, publications, exhibitions, and installations, Trevor Paglen has explored the world of hidden military projects and infrastructure. One of his best-known series is Limit Telephotography, for which he trained lenses designed for astronomical photography on secret military bases in the U.S., using their very-long-range photographic capabilities to capture images that would otherwise be hidden to civilian eyes. These are the “limits” that lie at the heart of Paglen’s project: the limits of democracy, secrecy, visibility, and the knowable. He is one of many artists who have evolved new and various ways of engaging with the military and the secret state in the years following the declaration of the “War on Terror.” The work of these artists remains as apposite as ever, as the U.S. and its allies continue to bomb suspected enemies (and anyone else who gets “too close”) and to run “black” sites and secret gulags in which people are held (and tortured) beyond the reach of the law. Paglen has made works that raise fundamental questions about what can be known and seen, while simultaneously writing investigative exposés of the shadow state. This interview explores some of the relations and tensions between the two practices.