Volume 32, Number 2 of Hand Papermaking explores the evidentiary nature of paper, as well as its capacity to conceal secrets, and what a forensic analysis of paper can tell us about our culture.

Donald Farnsworth recounts his discovery of a special “maker’s mark” in a sheet of 17^th-century paper.

Tim Barrett instructs us on how to “listen” closely to paper.

Michael Durgin speaks with Marian Dirda on how the National Gallery of Art Paper Sample Collection sheds light on works of art on paper.

Amy Hughes explains how the NGA Paper Sample Collection helped her figure out how to conserve a Max Weber print.

Gary Frost hails the codex book structure as a key preservation device for paper.

Izhar Neumann follows a lead from an historical treatise to make a mould and paper from the samar plant; accompanied by a paper sample.

Barbara Rhodes outlines early methods for secret writing in handmade paper.

Frank Brannon and Jeff Marley talk about their site-specific paper installations.

Robert Riter introduces the work of Chris Davenport and Crane Giamo who both use handmade paper as applied ecological evidence for environmental forensics.

Susan Mackin Dolan interviews the artist Hong Hong.

And we close with a roundup of recent exhibitions, and reviews of two books: Minah Song’s take on Sylvia Albro’s book about the history of Fabriano, and Bernie Vinzani’s thoughts on Peter and Donna Thomases’ interviews with retired papermakers from Tuckenhay Mill.