Abstract
This paper addresses Hopper’s painting as a “pictorial epoché” which opens towards the manifestation of the phenomenological conditions of appearance. Nevertheless, the event of appearance seems strictly inseparable from the partial visibility of its manifestation. For this reason, it could be said that Hopper’s paintings realize a topology of the “unseen” based on a structure of announcement phenomenology, whose main elements are the annunciation of absence and the abyss of waiting. Thus, the unseen is the trace of an absolute invisibility appearing in the punctum caecum of the visible disclosed by the pictorial space.