Migration was an art form for Moore and Cahun; the story of the collection and exhibition of their photographs is equally significant in the context of this book. Moore’s contribution is frequently marginalized in an art world that continues to neglect the contributions of the partners of gay artists. Moreover, my own method as a researcher initially replicated this neglect. Consequently, the last part of the chapter on the two artists is a meditation on method and the way it can extend our understanding of migration and identity, not only by means discussed in earlier chapters, but also through a continual process of self-reflection and criticism. I argue that whether we are museum practitioners, scholars, artists, or all three, it behooves us to monitor our language and thought, continually pushing the boundaries of our own experiences in an empathetic interrogation of the multiple forms of global mobility. It is only through this inherently activist process that we can address the challenges of today’s migrations with flexibility, a collaborative spirit, and a willingness to take risks in the name of innovation.