In this paper I examine two texts by Jacques Derrida, written at the beginning of 1990s, his "Force of Law: The Mystical Foundation of Authority" and Memoirs of the Blind: The Self Portrait and Other Ruins written on the occasion of the exhibition Derrida curated at the Louvre. In the first text Derrida claims that deconstruction is justice because it is associated with the quest for reinterpretation of all criteriology, including all rules, associated with law. He goes on to explain how implementing the law in the name of justice is a violent procedure and necessarily entails at times a reinterpretation at other times a suspension or even destruction of law. I analyze his reading of Memoirs of the Blind: The Self Portrait and Other Ruins in the context of the preceding arguments about the force of law. Placing blindness at the origin of all drawing, favoring memory and not perception and arguing that sight and eyes are meant for crying, rather than seeing. Derrida promotes a violent reversal of values in art theory, in the name of justice. Promoting the marginal and the repressed is a result of an interpretative violence: Derrida puts at the highest rank of values criteria which are in a state of min, after years of repression and marginalization. Our filiation with them arc consequently impure, contaminating, negotiated, bastard and violent. However, the min is not meant as a negative thing but as an index of mortality and an object of love.
