Cengiz Çekil’s series entitled Unwritten (1976) defines itself in relation to the artist’s own consciousness of time and place. Using Turkish newspapers from the mid-1970s as source material, Çekil isolates images from their respective headlines in a mimetic critique of the then prevalent social-realist style of painting in his country. The images, haphazardly arranged and devoid of further information, lose their function as photodocuments elaborating the specific news events of the time. Although the images hold historical visual information, Çekil’s arbitrary placements discourage a linear reading of history. Nevertheless, the works lead the viewer to be conscious of the everyday formats defining our experience of time, place, and information.