Lawrence Abu Hamdan’s latest project emerged from his involvement with an extensive—and emotionally harrowing—2016 investigation by Forensic Architecture into Saydnaya Prison in Syria, commissioned by Amnesty International. (The investigation was presented in Forensic Architecture’s exhibition at London’s Institute of Contemporary Arts earlier this year, for which they were nominated for the Turner Prize.) Given the lack of images of Saydnaya, and that prisoners were often kept in darkness or blindfolded, the investigation made use of the inmates’ memories of sounds heard within the prison, sensory experiences made all the more acute given the silence that was brutally enforced. Although the work became one of Amnesty’s biggest campaigns of recent years, and arguably helped to shift perception of the Syrian regime in the West, much of the testimony gathered was of little use in court, although it was not without meaning; such might broadly be considered the status of art, and it was within the space of art that Abu Hamdan found somewhere for that which was previously inadmissible. As with Abu Hamdan’s earlier video Rubber Coated Steel (2016), in which the artist analyzed audio recordings of a 2014 protest in the occupied West Bank to ascertain whether live rounds or rubber …