ABSTRACT
This conversation among three photographers and an art historian is concerned with the historical and contemporary relationship between photography and diasporic studies. The photographers disagree about the parameters and uses of that relationship and offer their own projects as evidence. They discuss migration in a variety of geographic locations – Canada, China, Cuba, Nepal, Singapore, and the United States – in an effort to determine photography’s particular risks and strategies in visualizing the global flows of peoples and the various meanings and lures of “home." A brief introduction by Anthony W. Lee places the conversation in an intellectual context.
