To accompany the retrospective exhibition presenting, for the first time in Spain, the work of Fazal Sheikh, FUNDACIÓN MAPFRE has published a catalog including around two hundred photographs from throughout his career. Based on a graphic testimonial, it includes a set of essays which make an in-depth analysis of the work by this artist from New York. In the introductory study, Carlos Gollonet, curator of the exhibition and photographic advisor of FUNDACIÓN MAPFRE, places Sheikh's work in the best tradition of documentary photography, from Lewis Hine to Eugène Atget, from Walker Evans to August Sander, a work he defines as full of vigor and longings for truth, which is not present in other contemporary photographers, who go for a more distant approach from reality. Liz Jobey, journalist, art critic, photography expert and regular publisher of books on Fazal Sheikh, in "Fazal Sheikh, a sense of common ground" reflects on his artistic evolution and how his work method has a lot to do with his biography, which makes him being or not being, belonging or not belonging to what he focuses with his camera. Eduardo Cadava, professor of the University of Princeton, in "Palmreading: Fazal Sheikh's Handbook to Death" and "Of Veils in Mourning: Fazal Sheikh's Widowed Images", concerns himself on how death has been reflected in the photographer's work through the analysis of two of his most well-known works, "The Victor Weeps" and "Moksha". With Walter Benjamin and his "tradition of the oppressed" in the background, Cadava considers the need to interpret memories, of how to exercise memory skill, of how to make History of people with no history, in order to guide his analysis to the existing relations between "death, photography and the media, and on the links between war, trauma and the impossibility of producing a story". The catalog ends with a biographic presentation, "Life on the frontier. Biography of Fazal Sheikh" and a useful bibliography, both by Carlos Martín, independent curator and professor of Islamic art.