The visual evidence of killing a human being in the face of political action has been delivered, or has it? On May 1st 2011, a picture was taken by the responsible chief photographer in the so-called ‘Situation Room of the White House in Washington, showing the US government reviewing the current screening results during the mission against Osama Bin Laden. The said photograph was uploaded on the White Houses official flickr-page, by the involved parties and underwent wide, medial dissemination. The great interest in this picture is not solely due to the context, but also due to the fact, that something crucial is missing in the recording. The viewers of the photograph can identify a group of people reviewing something, simultaneously however, they cannot see what the group depicted in the picture is focusing on - due to the fact that this ‘particular something is not within the picture frame. Thus, the photo includes a blank space, a vacancy, which awakens the drive within the viewer to question it or even the longing to fill it. This thesis intends to reach an analysis of three pictures using scientific research methods by starting out with a highly detailed image description of the photograph and the analysis of media reactions on the artistic reflections of two artists and one artists collective. Reviewed and verified are the approaches of the art historian and philosopher Gottfried Boehm, the US art historian William John Thomas Mitchell and the French art historian and philosopher Georges Didi-Huberman, all of whom place their research among an interdisciplinary field of pictorial science. This discipline provides a variety of theoretical approaches applicable for analysing images, which are also necessary in the case of the photograph taken in the Situation Room, in order to approach the photograph scientifically and especially to capture the complexity of the vacancy.