Hostility comes across in various forms throughout “Hostile Terrain ’94,” a show about the perils involved in undocumented migration.
When the Dogs Stop Barking reflects the complexities, and foolishness, of geopolitical limits.
The unofficial coins portray an agent on horseback wielding his reins like a whip and the ominous inscription “You Will Be Returned.”
“Artists are the key people who are helping us to think differently and better about not just the future, but the past and the present,” said Laura August, who’s been chosen to lead the Visual Arts center at the University of Texas at El Paso.
Though the area has been at the center of recent border wall debates, its complexity and diversity have been politicized and oversimplified for centuries.
An SFMOMA exhibition raises questions about what it means when museum board members have ties to politicians who support border wall policies.
Rafał Milach sharply documents three international border walls and how they impact our sense of identity and memory.
Mexican photographer Alejandro Prieto’s image of a roadrunner at the US-Mexico border took home the top prize.
Tom Kiefer’s aim — to document atrocity — is clear. But his exhibit at the Skirball Cultural Center raises a number of important ethical and legal questions about whose stories he tells, and how.
A mix of voices filled the room with passages from Borderlands, serving as a powerful antidote to the violent racism and xenophobia that characterizes our current political moment.
During a recent visit to US border facilities, the president of the American Academy of Pediatrics was given three drawings by child immigrants.
“It is shocking that the American public largely must learn about the dangerous conditions at these detention centers not through reporters being able to cover the news, but through second-hand reports from lawyers and advocates granted access under a legal agreement with the U.S. border patrol,” the organization said.