Published by Editorial RM in 2018, Javier Arcenillas’s *UFO Presences* is organized around American sites linked to reports of unidentified flying objects. Its geography stretches through California, Arizona, New Mexico, and Texas to Area 51 and Nevada State Route 375, widely known as the Extraterrestrial Highway. Arcenillas turns away from the expectation of spectacular revelation and concentrates instead on the terrestrial settings in which stories of the extraterrestrial have accumulated.

The photographs are sequenced as a road-based inquiry, interspersed with newspaper cuttings and related documentary material. This combination shifts the book between landscape photography and vernacular archive. Roads, settlements, and desert locations acquire meaning through the claims attached to them, while the clippings show how sightings enter public circulation. Rather than resolving whether any encounter is credible, the book examines the visual and textual conditions through which such events are remembered and repeated.

That restraint gives the project its particular tension. The landscapes may appear ordinary, yet their association with reported phenomena makes them unstable: each location can be read simultaneously as physical evidence, cultural landmark, and projection surface. Arcenillas’s method is therefore less concerned with illustrating UFO mythology than with tracing how belief inhabits place. The sequence asks what a photograph can establish when its subject is defined chiefly by testimony, rumor, and absence.

The 120-page, spiral-bound hardcover won RM’s sixth Photobook Award. For collectors, its interest lies not simply in an unusual theme but in the disciplined conversion of dispersed locations and archival fragments into a coherent artist’s-book structure. *UFO Presences* belongs within histories of American road photography, documentary uncertainty, and the photographic study of belief, while maintaining a dry, open-ended character of its own.