ABSTRACT
Perhaps, as Michaeline Crichlow suggests, art might be the best vehicle to apprehend the process of human traffic since it can capture the rich dimensionality of this phenomenon. 1 Whereas journalistic coverage might emphasize economic determinism and the inequities of human rights in terms of both definition and distribution, art foregrounds issues like representation and the conditions that enable intelligibility. How do media forms shift not only the capacity to recollect the experience of traffic, but also the very material mechanics of trafficking? What circuits of power and technologies of visibility enable us to see what are often invisible currents of both documented and undocumented human labor? What sorts of fantasy projection does the dissemination of media networks across the globe enable? What possibilities not only for communication, but also for identification and production of agency (and subjectivity) become available through such networks?
