Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition. The title of the series is translated from the Khmer phrase Tuol Sleng , which literally means a poisonous hill or a place on a mound to keep those who bear or supply guilt, and the photographs came from the Tuol Sleng Genocide Museum in Cambodia, a former prison where at least 200,000 Cambodians were executed during the reign of the Khmer Rouge between 1975 and 1979. In this particular image, three men stand against the backdrop of what looks like a prison interior. Their identities are unknown. The ghostly, illuminated space creates a strange effect of time traveling, transporting viewers back to the historical event depicted. The men’s gazes seem to tell stories that have been buried in collective memory. For Lê, the act of appropriating, recycling, and remixing imagery is a means of rescuing both images and the memories embedded within them.
Dinh Q. Lê’s artistic practice centers on his lived experience of political and social conditions in his native Vietnam; he and his family fled the country via Thailand in 1979 and immigrated to the United States. Lê interweaves the experiences that helped shape his identity with Vietnamese national mythologies, collective memories, and expanded cultural histories. Incorporating imagery from a variety of sources, such as archival photographs, documentaries, Hollywood films, and Vietnamese iconography, Lê’s investigations raise critical questions about the distribution, reception, and consumption of images, and how images inform national identity.
 
                                    
                                    At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
 
                                    
                                    In Eniko Mihalik (2012), the camera captures a glimpse of the eponymous Hungarian model as seen through a rearview mirror...
 
                                    
                                    Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
 
                                    
                                    In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
 
                                    
                                    The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
 
                                    
                                    Negligee (2013) serves as an example of this tension, with its artful angle and play with shadow and light upon the sensual subject, rendering the image ambiguous...
 
                                    
                                    In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...
 
                                    
                                    Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
 
                                    
                                    Blindseye Arranger (Max) (2013) features a greyscale arrangement of rudimentary shapes layered atop one another like a dense cluster of wood block prints, the juxtaposition of sharp lines and acute angles creating an abstracted field of rectangular and triangulated forms composed as if in a cubist landscape...
 
                                    
                                    Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
 
                                    
                                    Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
 
                                    
                                    Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
 
                                    
                                    To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
 
                                    
                                    The Cloud of Unknowing (2011) is titled after a 14th-century medieval treatise on faith, in which “the cloud of unknowing” that stands between the aspirant and God can only be evoked by the senses, rather than the rational mind...