Trevor Paglen had marked the opening of the new Aksioma Project Space with a very concise exhibition of four projects from his wide-spread artistic research on landscapes and phenomena that are hidden from the public view and work in the heterogeneous interests of the state apparatus. He is showing a selection from his work Symbology (2006), in which he has collected a wide range of perplexing symbols and insignia that signify secret military operations, various units, command affiliations, and programs, by which members of these programs are able to identify one another. The patches represent a distinguished military culture, marked by an explicitly gaudy taste, in which the “Pentagon’s ‘black world’ is replete with the rich symbolic language that charactericise other, less obscure, military activities”. The second work at the exhibition, Missing Persons (2006), is presenting another by-product of secret activities, which only insinuates the highly dubious activities of the CIA, for which it has created a wide-spread list of fake names to cover up the trail of their agents. Since the mid-nineties, the CIA has been wildly active in kidnapping, detaining and torturing people who were suspected of terrorism all around the world and it has brought them to a network of secret prisons referred to as “black sited”. For their activities, the CIA has used unmarked aeroplanes, which are owned by intricate networks of front companies whose boards of directors are composed of non-existent people. The Missing Persons project is a collection of their signatures culled from business records, aircraft registrations, and corporate filings. Connected to both of these works is the project Code Names, which lists words, phrases, and terms that designate active military programs whose existence or purpose is classified ranging from intelligence programs to military operations, and secret identities and fake companies. The forth project is presenting selected works from the Limit Telephotography project, which unveil the geographies of classified military bases and facilities that are off-limits to the general public. In this piece, in which the artist uses highly magnified photographic technology that closely resembles astrophotography, the artist reveals highly grained blurred images of secret geographies, which seem so far as if they did not belong to the same dimension.