In Mengele’s Skull: The Advent of Forensic Aesthetics authors Thomas Keenan and Eyal Weizman question the extent to which the ‘physical remains of the dead can be made to speak’. The first time forensic aesthetics were used in the court of law was to prove that the remains claimed to be those of the Nazi war criminal Joseph Mengele were actually his. Here, Keenan and Weizman present key images, such as Mengele’s face-skull superimposition, to chart the advent of forensic aesthetics. Calling attention to the otherworldly nature of these forensic collages, our design takes after the seriousness of a classic pocket novel, with a few small interventions. Inside, colour images are inserted within a text block, and captions depart slightly from the volume’s typographic language.