The first reference monograph dedicated to Lawrence Abu Hamdan, artist and audio investigator, Dirty Evidence deals with “the politics of listening” and the role of sound and voice within the law and human rights.

Abu Hamdan recognizes the space for art as a site where attention can be drawn to real socio-political conditions in order to challenge the structures behind them. The artist can therefore push at the boundaries of what constitutes testimony. The title, Dirty Evidence, comes from Abu Hamdan’s definition of evidence in which a truth value is derived from its very inadmissibility before the law. It is precisely the evidence’s figurative dirt and dirtiness that works toward the production of truth.