Although developments in modern communication technologies have influenced the wide circulation of-and even immersion in-images of war (through photography, media, social media, films, video games), the "truth" of war, violence, and suffering continues to escape us. The material, concrete and physical consequences of war are viewed from a comfortable "distance." It is this paradox that lies at the heart of In/Visible War, edited by John Louis Lucaites and Jon Simons. Contributors from disciplines as diverse as cultural studies, media studies, international studies, political science, and art examine the paradox of having war so close to us-yet far away. One point that the contributions have in common is the recognition of the complex ways in which visuality participates in our understanding of military conflicts. In line with Roland Bleiker's call for an aesthetic approach, the project is marked by a humble attitude, careful not to fall into certitudes and assumptions about what "war really is," but constantly elaborating the making and unmaking of war's (in)visibility. The aim of the book is therefore "to make invisibility itself visible," instead of unveiling a true image of war. The main way the war is made invisible is through registers of normalization, disavowal, displacement, banalization, and simulation. These are explored by the authors of this anthology from multiple perspectives, some remaining on a theoretical level and others providing a close reading of texts ranging from photo-essays and films to video games and memoirs.Most of the more theoretical contributions draw upon and elaborate the works of Paul Virilio, Jean Baudrillard, and Nicholas Mirzoeff to discuss the relationship between visuality and war. "Why War? Derrida, Baudrillard, and the Absolute Televisual Image" by Diane Rubenstein goes deep into a theoretical confrontation of Derrida and