The spectator looking at the book’s pictures becomes one with the photographer’s eye, enacting the same attentiveness and patience that the latter put in the event of each photograph, framing this or that detail, contemplating the myriads of details that tell of the invisible shift of housework and childcare. A certain coolness seems to coat the story-telling, sometimes a certain cynicism that spans from the personal to the complexities of a global system of patriarchy and unrecognition of women’s ‘second shift’. Gallagher’s feminist protest, which is one prompted by the social and cultural inequalities women still face in contemporary society, is a document of quiet anger, confirming the state of the art of current protest photobooks. Indeed, as Badger and Parr state (2014, 47), “although protest by its very nature is personal, protest books will probably become even more personal, more contemplative and possibly less obviously angry, because anger can be encapsulated, expressed and shared more immediately on the internet.” Her ‘quiet anger’ is indeed mitigated by the intimacy of the moments of rest and play of her sons, the bittersweet interstices between vegetable peelings, leftovers, laundry, and all the rituals of every day that are accomplished in order to keep up with it all, on top of the ‘first shift’. Not only focusing on the physical effort put on housework and childcare, Gallagher’s work is also highly psychological, setting the tone for a communal understanding of the effects still at play in what she calls a ‘capitalist, patriarchal and aesthetic system’.