Theory of Justice is an unfinished project: Friedl is always on the lookout for more materials. As such, his artistic attitude of systemic resistance appears accompanied by an implicit suggestion: the claim that, although there is an enormous amount of photographs at our disposal today, there is also always, at the same time, somewhere, a body of photographs that remains inaccessible. Although they may well already exist somewhere, someplace, they have thus far remained hidden from us. In this sense, we can think of the photographs that will eventually become added to the project as the ‘optical unconscious’ — to employ a term from Walter Benjamin — of the era we live in. They point at that which has not been properly photographically archived (or not that we currently know of), and which escapes any strategies of valorisation or functionalised visibility.