This volume includes the editorial 'Can the referent abscond with its own representation?' by Thomas Crow; 'Ivory Towers' by Richard Taws; 'Are shadows transparent?' by Roberto Casati; 'The hidden witness of everything' by David Doris; 'Absconding in plain sight' by Roberta Bonetti; 'Immanence out of sight' by Joyce Cheng; 'A concrete experience of nothing' by William Smith; 'Believing in art' by Irene Small; 'Repositories of the unconditional' by Gabriele Guercio; 'Behind the colonnade' by Clemente Marconi; and, 'The myth of 'unmade' images and the art of absconding' by Gerhard Wolf.
It also includes 'Moving eyes' by Bissera Pentcheva; 'Interior motives' by Melissa Katz; 'A secret kind of charm not to be expressed or discerned' by Rebecca Zorach; 'Out of sight, yet still in place' by Minou Schraven; 'Roma sotterranea and the biogenesis of New Jerusalem' by Irina Oryshkevich; 'Style and substance, or why the Cacaxtla paintings were buried' by Claudia Brittenham; 'Apparition painting' by Yukio Lippit; 'Enlivening the soul in Chinese tombs' by Wu Hung; 'Seeing through dead eyes' by Jonathan Hay; 'On the 'true body' of Huineng' by Michele Matteini; 'Boxed in' by Miranda Lash; 'Digitalisation' by Boris Groys; and 'Des figures et des categories' by Remo Guidieri.
Francesco Pellizzi is Associate of Middle American Ethnology at the Peabody Museum of Archaeology and Ethnology, Harvard University. living in Milan Jonathan Hay is Ailsa Mellon Bruce Professor of Fine Arts at New York University