Giorgio Di Noto has progressively investigated photography as an unstable, ambiguous medium, always poised between document and invention. This trajectory finds a new expression in research carried out in the storerooms, restoration laboratory and photographic archive of the Museo Nazionale Romano: spaces usually inaccessible to the public, where the past is not displayed but preserved, catalogued and prepared for future viewing. Here the artist engages with collections of sculptures, mosaics, frescoes, inscriptions and everyday objects from the Republican age to the late Empire, and with plates, negatives, prints and slides relating to archaeological excavations, restorations and documentation from the early twentieth century to today. Di Noto's photography becomes at once a stratigraphic and poetic instrument, capable of questioning not only the artefacts but also the images that document them, and with them the technical and cultural conditions of their representation. Digging through images of archaeology, traces emerge of a complex process of manipulation which, in order to isolate the finds, erases and obscures, turning the act of making visible into a gesture of subtraction. The document becomes an artefact, masking is reversed into revelation, and technical intervention is unveiled as a creative act.