The book takes as its starting point the artist’s solo exhibition of the same title at the Tel Aviv Museum, and evolves into a chronicle of Quaytman’s obsessive investigation of an undetected and elusive image that she discovered behind the Angelus Novus, Paul Klee’s famous 1920 monoprint. Quaytman’s research, and eventual momentous identification of the image,are traced through a personal essay by the artist herself, along with extensive analytical commentaries by Tate curator Mark Godfrey, and Paul Klee scholar Annie Bourneuf, accompanied by full-page color photographic reproductions across two iterations of Chapter 29, from the original Tel Aviv Museum and later Miguel Abreu Gallery Orchard Street exhibitions. Chapter 29, with the tools of the artist rather than the historian, interwoven with images of Israel's desert landscape and Hebrew typography, Quaytman traces a labyrinthine path through museum archives, personal libraries, correspondences between Gershom Sholem and Walter Benjamin (the Angelus’ best-known owner), vast online image banks of engravings, and reaches a conclusion that is perhaps more puzzling and complex than the mystery she set out to solve.