For Baudelaire the photographic medium was for a long time not an art but a plain technical means of representing the real. As a riposte, d'Agata reworks his own pictures by digital means to return them to engraving, moving from the pixel back to the line of that century.

Here he pushes the medium into a corner, undoing it to come back to something raw. Baudelaire's poems then hold a conversation with photographs turned into engravings by wear and handling, in which bodies mix and give way to a poetry of the body. The volume follows the original uncensored edition of the collection, set beside those engraved impressions; present and past lie one over the other.