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Guideposts for the dim, replicate half-world where counterintelligence raises deception to the second and third power.
– 'Observations on the Double Agent', CIA Studies in Intelligence journal, 1962
Do keep in the shadow, and remember the shadow moves.
– Canadian Army training pamphlet, 1940
The following glossary contemplates the intersections of art and military intelligence communities, presenting case studies that explore the hidden gestures and strategic deceptions of the shadow world. Navigating a theatre of double agents and the duplicity of objects that oscillate between art and artefact, the question arises: not only what is the subject, but how does this subject shape subjectivity? In thinking about the poetic contra the paranoid, one must pass though Paul Klee’s theory of making the invisible visible and into the field of secret epistemology, which understands that decoding the image is sometimes not as important as realising that the spectacle of the image itself serves to hide what matters most.
During World War II, Cambridge University art historian Sir Anthony Blunt (1907–83) worked as a spy for