In Art Spiegelman's comic books, ambivalence about visuality in representing the historical and private traumas of the Holocaust and 9/11 manifests itself as blindness: seeing inwardly and seeing through touch. The emphasis on materiality and proximity links the haptic visuality of In the Shadow of No Towers to other visual practices memorializing 9/11 that withdraw to the local landscape of the neighborhood and demonstrates the challenge posed by the images of 9/11 to historical interpretation.

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