ABSTRACT
To what degree does the idea of “communities” provide us with a tool for understanding both individual and collective relationships to anti-war activism? We deconstruct and re-frame this notion here in a more operative way according to our objectives-taking artists’ voices seriously-and to the lessons learned from our fieldwork. Indeed, this chapter focuses on the (strategic or less intentional) activities of frontier-building instituting communities and referring to them as operative categories.
