From a distance, False Flag’s photographs show us a series of buildings, the gray concrete urban blocks characteristic of overcrowding in big cities. A magnifying glass next to them invites us to get closer and discover that they are volumes of movable type organized, perhaps, to print a text, even though we are unable to distinguish a single letter from it. This piece alludes to the printed text and its dual capacity to disseminate, either the knowledge and freedom characteristic of the Enlightenment or the repression and secrecy symbolized in the secret documents. While some groups of photographs present landscapes composed of movable lead type, others present landscapes composed of the same type of cast in plaster, thus invoking the image of a city in ruins. The idea is underlined once we discover, under the magnifying glass, that the only legible text, the only tangible truth, is the date and location of a terrorist attack attributed to a secret army in European cities during the Cold War.