Steve McQueen’s audio-visual installation End Credits (2012–22) displays thousands of digitized FBI files scrolling slowly up a large-scale screen over twelve hours and fifty-four minutes. The material includes file numbers, dates, and registration codes, some heavily redacted or blacked out. Over the duration of sixty-seven hours, four minutes, and forty-three seconds, voice recordings render the FBI informants’ reports audible asynchronously to the image. The artwork is a haunting monument to the state surveillance and smear campaigns orchestrated by the US government against the writer, photographer, Pan-Africanist, feminist, and anthropologist Eslanda Robeson (1895–1965). Robeson also managed the media communication of her husband, the world-renowned singer, actor, lawyer, and social activist Paul Robeson (1898–1976), who was also under attack by the FBI for his civil rights work, support of trade unions, and sympathy for Soviet-communist ideas. Eslanda wrote a biography of Paul as well.