La maison Chypre is presented in a facsimile edition, a work endlessly devoted to its own reproducibility, with the question of archaeological discovery at its centre through the pale presence of unearthed bones, mirroring Pompeii's slow lava flow and, by extension, every mass grave site in the world. The book's opening photograph sits at odds with the law, its presence testifying to the island's near-total ban on and confiscation of such images; since photography's frame is narrow and limited, it embraces the image while erasing a set of dialectical forms and causes, so that one keeps looking through walls, gates, loopholes and barbed wire at both the inertia of images and photography's own impossibility of narrating History.