The Indian state’s dominant visual order invisibalizes the structure of its violence in Kashmir. It enforces a blindness and numbs the critical senses of its citizens. From the twin images of Kashmir as a ‘beautiful landscape’ and as a ‘hotbed of anti-nationals,’ it mobilizes the composite image of ‘paradise crawling with serpents’ to justify the military occupation. Can there be a counter-project to this mode of seeing and representation? Can artistic works agitate the dominant imaginaries, trouble the subtle ruses of state power, and, in the process, train a new disobedient sensorium? The images by Rollie Mukherjee that you see here answer these questions affirmatively.