In this brief comment, I will mainly engage with chapters three and six of Desmond Manderson’s Danse Macabre: Temporalities of Law in the Visual Arts. In his recent book, Manderson’s poignant argument resides in confronting colonial law’s structural violence, and how we need to contrast familiar tropes of colonial representation we have regrettably taken for granted. Art, in its various forms, is one way to do it, especially in these times of populist ideologies.
