"I focused on how the political and physical merged" analyzes Willie Doherty. Out of the Shadows II plunges us into a dark night lit by a few street lights in a deserted street where a car is parked in the Irish city of Derry. What is at stake is yet to be unearthed. The context of this picture is not revealed immediately. The pre-text or the information and interpretations made by the spectator puts the image in the "troubled" political context of Northern Ireland (a car bomb?) led by the sectarian resentment between communities (the wall evokes a zone of non-visibility). In contrast to the iconography of terrorism in the media, Doherty does not capture the moment of violence itself, but rather an "anti-headline," the location of a possible confrontation, past or future. Thus, "Out of the Shadows II" substitutes the narrative of the event with a political image, embracing the event's description with the aesthetics of the urban landscape.