Introduction (Leonida Kova. ) Sebald’s Writings, History and Voids W.G. Sebald’s Cartographic Images: Mapping the Historical Void (Anna Seidl) Imaging the Uncanny Memory: War and the Isenheim Altarpiece in 1917–19 (Juliet Simpson) The Worlds of Eternal Present—The Quest for the Hidden Patterns of Baroque Thought in Sebald’s Literature (Jelena Todorovi.) Seeing the Void? On Visual Representations of “Arisierungen,” Forced Absences and Forms of Taking Inventory in the Installation Invent Arisiertby Arno Gisinger (Veronika Rudorfer) Memory and Art in and Through Sebald Monument and Memory (Mark Edwards) In the Labyrinth: Sebald’s (Post-war) French Connections (Catherine Annabel) Leaning Images: Reading Nasta Rojc and Ana Mu..et (Sandra Kri.i. Roban) Working With Images: Documentary Photography in the Oeuvres of Mike Kelley and W.G. Sebald (Fransesca Verga) Ghostwriting and Artists’ Texts: Raqs Media Collective’s We Are Here, But Is It Now? (Ilse van Rijn ) Writing with Images: Academic Practices and / as Ethical Commitment Models for Word and Image: Georges Rodenbach to Christian Bök (James Elkins) On Writing: Propositions for Art History as Literary Practice (Tilo Reifenstein) Memory, Word and Image in Sebald and Joyce: Towards a Transhistorical Ethics Communicated Through Minor Interventions in the Form of the Printed Book (Christa-Maria Lerm Hayes) Sebald’s Toute la mémoire du monde (Leonida Kova.) As A Dog Finds A Spear (Hilde Van Gelder)