The title states its own arithmetic: eighty portraits, seventy-three men, seven women. Published by Verlag für moderne Kunst in April 2025, the book is edited by Jonas Höschl. The photographs are not his own. They come from the image material of anti-fascist research networks—including Endstation Rechts, Recherchenetzwerk Berlin and Recherche Nord—whose photographers are thanked in the book. Margit Neuhold contributes the text, and Daily Dialogue is responsible for the design.

The photographic approach is one of recontextualization. Images that often circulate on anti-fascist platforms as documentation and activism are repositioned, so that the visual codes, gestures and power structures of the far-right scene can be examined as a visual language. This reworking is both editorial and artistic, conducted through the sequencing and juxtaposition of archival material rather than through new photography. The book thus examines the role of photography at the intersection of activism and documentation.

The edition is an 80-page hardcover, 31 × 22 cm, with eighty black-and-white illustrations, in German and English. It received the Gold Medal in the category “Artistic Photography Photobook” at the German Photobook Award 25|26, with a laudation by juror Prof. Wiebke Loeper. The reproduced portraits obscure faces, shifting attention toward the gestures, clothes and settings through which political identity is performed. That displacement is central to its argument about recognition and the uses of documentary images.

For collectors of photobooks working between art, archives and political inquiry, the volume offers more than a record of events. It asks what happens when photographs made in one context are placed in another and what a portrait can disclose when presented without reassurance. The imbalance named on the cover is the starting point, and the book’s editorial and artistic decisions follow from it.