Artists in this exhibition responded to challenges of, and consolations of, sanctuary. Sanctuary, we learned, is not an abstraction; it is a relative term that we negotiate.

Reflecting on the emotional experience of hearing testimony of ICE deportation, Jennifer R. Nájera asks questions about the role of the anthropologist vis-à-vis the research subject, and the place of vulnerability in a more ethical ethnography. 

Drawing on her own family history and the artworks of three mixed-media artists, Tao Leigh Goffe explores how visual art can produce a global transoceanic conception of Afro-Asia. How do Albert Chong, Richard Fung, and Tomie Arai use vernacular photography to examine the affective ties of diaspora? 

Zambernardi introduces readers to the tonnara: the system through which one of the giants of the sea, the bluefin tuna, has been fished on these shores for millennia. Through ethnographic research over several years, sailing with crews of rais (fishing chiefs) and tonnarotti (tuna fishermen) in the Mediterranean and Atlantic, Zambernardi explores the tonnara from the inside to show how this fishing method works and what is left of it today.

Hope is deeply utopian, not in the colloquial or naïve sense of idealism, nor as mere "wishful thinking." Hope is a political and imaginative praxis. It is rooted in the capacity and willingness to envision a radically different "there and then," and to work toward it, even when the "here and now" feels insurmountable.

On a visit with her mother to Santa Cruz, Murphy finds solace and hope for the future while observing migrating monarch butterflies.

Oberiano finds hope for the future of the climate of the planet in indigenous CHamoru theater and legends.

Through a careful reading of a mid-20th-century button imposed on cross-dressers in Hawaii in light of recent U.S. policies regarding gender, Meyer finds hope in reversing discourse.