A spray of leaves from a metal vase is set against a rich blue wall. In the reflection of the vase, we see hints of windows overlooking greenery and the sea: it is a still life that also contains a sunny, beachside landscape.

How do we reckon with the knowledge that this was made by a man imprisoned at Guantanamo Bay for 11 years, where he was never charged but tortured, where art was surely one method of staying in touch with his humanity? More broadly, how does the American public imagine Guantanamo, a part of this country that has been deliberately obscured from sight throughout its 13 years of existence? ...

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