Abstract: The article argues that the denial of detainee intellectual property rights at Guantánamo Bay calls attention to new modalities of fugitivity and postcolonial citizenship. Examining paintings created by current and former detainees as well as Mohamedou Ould Slahi’s redacted memoir Guantánamo Diary (2015/2017), the article poses two key questions: How do we understand the status of post-9/11 art made in captivity? And what is the significance of the claim of US state ownership over such art? Following Stephen Best’s argument that US intellectual property Continue reading → Continue reading →