Since 2001, Britain's Parliament has appointed an official election artist to document UK general elections, echoing the century-long British, Australian and Canadian tradition of official war artists. Cornelia Parker, whose work often addresses conflict and democracy, covered the 2017 UK general election. Prime Minister Theresa May called the election less than a year after the historic Brexit referendum in the hope of breaking the deadlock in Parliament that was stalling any possibility of a Brexit deal with the European Union. The 2016 Brexit campaign was a divisive moment in UK political life, marked by misinformation, rising ethno-nationalism and violent political assassination. Parker has expressed her concern about the outcome of the Brexit vote, and the election of US President Donald Trump only a few months later. Parker's election-artist works Left Right & Centre and Election Abstract address these deep political divisions and the polarisation of the British press and the election through social media. However, some key forces underlying these recent electoral shocks occurred invisibly, through microtargeted campaigns, fake news and voter suppression. This article considers the perhaps inevitable gap that occurs within an artist's attempt to visualise democratic tensions in which some of the most influential forces are purposely invisible.