Continuing where Wall Stalker left, the plot is resumed after the characters (now on a first person point of view) are washed in the whiteness of the wall they initially came to see in their search for answers. Once stricken by a white form of agnosia resulting from the purging experience of the mystical wall, the characters are unable to tell if what they think they see is either a memory of times past or unknown possibilities of new paths to be taken. Going through desolated landscapes, the characters face a dichotomy on which path to take: if the one that points to the uncertain abstraction reminiscing of the wall that left them confused or if to the clearly defined urban iconography that can be recognized in the distance. Once drawn by the hypnotizing sharpness of symbolism, the protagonists are sequestered inside Atlas, an urban maze of unremarkable buildings overlooked by four pyramidal monoliths, one of them containing what will make the wanderers discover—against their will—the last part of their journey.

Like Wall Stalker, Blindness is a graphic radiography of the fictional subconscious of architecture. This time using pieces from Jan Garbarek, Eberhard Weber , Agnes Buen Garnås, Rainer Brüninghaus, and Naná Vasconcelos as acoustic landscape the architectural narrative is built once again around twelve chapers / photomontages that depict a journey to find meaning in architecture. The images evolve around fictional landscapes that evoke a new kind of blindness of symbolism and meaning.

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