"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.