Visualizing the InvisibleAt the both smallest and largest scales, we often connect our identities with the invisible, the unnoticed, the inconsequential details that only the most astute, or most highly-trained, notice. Indeed, it might be the case that, because these signs are so seemingly negligible, we assign more notional weight to these markers of identity than we assume. These three works of art all work with the idea that what is unseen can be powerful evidence, especially when it is brought to the forefront of our imaginations. Ocular Revision and Parallelograms work at vastly different scales, each piece contesting that—if only we looked or listened more closely, even at the things that are right before our eyes and ears—we could lay claim to insights about our world, whether aesthetic or political. Heather Dewey-Hagborg’s piece, Radical Love: Chelsea Manning, uses collected DNA to produce a type of data-driven portraiture that questions, as do the portraits elsewhere in the exhibition, the relationship between what we see and who we are. All three works demonstrate that ability to make the invisible visible is a form of power that, like all forms of power, can take on any number of guises.