There was a structure. Things which were revealed were sealed. It was done in such an orderly fashion because, of course, these things were classified. Now they’re unclassified, but they’re still classified in a way because we don’t see all the evidence or facts that had apparently been gathered. It’s decorative to a certain extent: what is revealed and what is unrevealed, what is fact and what is fiction. So then it’s about what the spectator projects onto those files. The blackness was almost like holes within the system. Those holes tell you a lot about the failures of state surveillance, and more than anything, about the triumphs of the Robesons.