Anya Belyat's imagery of displaced worlds of immigrants carried from one continent to another in a suitcase, reliving and redrawing their lives in a new personal way, draws attention to the fact that about three percent of the world population, an astounding number of 180 million people displace around the world each year. The visual whispers of 58 immigrants, displaced, left in distinguished places, leave no importance of being viewed or presented, critiqued or documented. Their importance is of simple existence, an aftermath of displacement.

Sandra Binion's video installation "Only Sleeping," projected onto the undulating laundry line, presents the imagery of collected video inventory depicting everyday life in Israel and Jordan: children at recess, Muslim men praying inside a mosque, an Orthodox Jewish woman at prayer, falafels cooking in a pot of boiling oil and many others. As the ephemeral oscillates with the concrete, the viewer's shifting perspective on these fragments reinvests image and after-image with meaning. These everyday activities, common scenes and un-dramatic moments remind us of the importance of simple needs.

Cat Chow's sculpture/fabrication, using unconventional materials in a repetitive, process-oriented mode, re-examine issues such as fashion's constraints upon the feminine form with its relation to issues of social context and sexual identity.

Aylene Fallah's "Merging into Nothingness," a 18-inch tapestry of black human hair of bygone women, falling down the wall and onto the floor, represents a flow of people and their hair, burning and alive. In "Between Body and Words," multiple views of women's dangling feet and wooden shoe forms below the images, covered in a semi-transparent black fabric, with the Farsi script underneath, evoke the notion of departed spirit.

Cecilia Mandrile's Portable Installation "The Perfume of Absence," made with digital-printed fabrics and objects found in the journey, is based on a process of construction, documentation, destruction and reconstruction of fragments in different scenarios. In the years of 2002 and 2003, these intensively displaced pieces visited (found ephemeral refuge in) places such as Havana, London C—rdoba, New York, Buenos Aires, Bath, Brussels, Bruges, Venice, London, Helsinki, Tallinn, Berkeley, San Francisco and Zagreb.