This article builds on Desmond Manderson’s visual jurisprudence to develop a Levinasian encounter with Rafael Cauduro’s 7 Crímenes, a series of murals in the building of the Supreme Court in Mexico City. The article seeks to impulse Manderson’s methodology further into the horizons of empathy and intersubjectivity through a phenomenological approach to Mexico’s colonial past and present across images, death, time and law.
