The experience of the body in pain is a phenomenon that fundamentally defies attempts at visual representation. Beyond the obvious claim that an image can never unproblematically represent the complexity of a lived reality, the visceral experience of pain as a tactile phenomenon both animates and confounds attempts to 'make sense' of pain within the logic of a political culture that relies for its ethical bearings on the verifiability associated with visuality. Despite its inherent impossibility, the image of the body in pain animates a whole host of often contradictory political activities, from torture to military intervention to famine relief to critical International Relations scholarship, and it is not a facile process to adjudicate between the ethical logics of these on the basis of intentionality alone. Indeed, all rely on a technologic of visualisation to validate their respective projects, and many rely on the circulation of abject imagery. This technologic fetishizes pain in its drive to make visible what is essentially unimagable - that is, the tactile experience of the body in extreme pain (Scarry: 1984). The body in pain is thus produced as an aesthetic visual image, a symbolic icon which stands in for itself in the singularity of representation associated with the visual. At the very least, the strategies associated with visualising the disaster of pain are profoundly objectifying - we produce or regard wounded, bleeding, starving, shattered, twisted, nameless disembodied bodies who are thereby reduced to shadows - to rumours of themselves. Following an exploration of the visualisation of prisoners' bodies in the case of the torture at Abu Ghraib in 2004, this paper will argue that the sovereign inscription of pain through torture and war has been followed by a fetishization of pain through the re-circulation of imagery for the intended purposes of opposing or resisting these practices. Yet, the drive to circulate ad nauseum the icon of the body in pain for 'ethical' academic projects is to risk the reproduction of the same logic of violence that animated the production of pain in the first place; that is, the image of the abject. The paper will therefore explore the visual logic that is associated with the imaging of pain, not to suggest that the circulation of such imagery is commensurate with the torture that produced it, but to argue that the logic of the visual image in both cases risks the final obliteration of the human subject whose world is already undone by the experience of extreme tactile pain.Toward this end, the paper will explore the profound limitations associated with the reliance on visuality to 'make sense' of our worlds - limitations which also form the conceptual basis for its seductive allure. Indeed, the imperative to make visible the body in pain is simultaneously an attempt to defy the consuming scope of its tactility. The image of pain forms the assurance of its comprehensibility. The image provides limits and contours to pain within its own framing practices, announcing pain within a bounded zone of intelligibility. It allows us to retreat from the potential limitlessness - the absolute disaster - of human pain that haunts all of our projects and ethical beginnings. Finally, overlaying the analysis surrounding the production, visualisation, and circulation of pain, the paper will take as a central problematic the question of whether it is possible to de-centre visuality as the basic orientation of our political imaginaries, and what this might mean for a more ethical engagement with the politics of pain. ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]