Antoine d’Agata’s *Cidade de Pedra*, published by Void Producoes in 2016, records the photographer’s sustained engagement with Cracolândia, the crack-using neighborhoods of São Paulo and Salvador. The book draws on a period from 2005 to 2009, when d’Agata spent much of his time in these areas, described in the source material as among the roughest in Brazil. Its subject is therefore not an external survey of urban deprivation, but an extended encounter with places and people marked by extreme social violence and by the intimacy of daily survival.

The book’s significance lies in the duration and proximity of that encounter. The photographs are presented as a record of brutality, but also of closeness: the two conditions are not separated into opposing narratives. This tension gives the work a particular documentary force. Rather than treating Cracolândia as a spectacle or reducing it to a social category, d’Agata’s approach attends to the unstable boundary between witnessing and participation, exposure and human presence.

With 169 images, including more than 140 photographs identified as previously unseen in the supplied description, *Cidade de Pedra* is characterized as the most comprehensive document of this period. That scale matters editorially: the book can be read not simply as a selection of isolated images, but as an attempt to give sustained form to a long, difficult body of work. For collectors concerned with the development of contemporary documentary and socially engaged photography, it deserves attention for the intensity of its subject, the length of the photographer’s involvement, and the unresolved relationship it maintains between violence and intimacy. The publication is in Portuguese and bears the ISBN 9788593212000.