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. 

What are the intellectual and political conditions that permitted me to understand the word “critic” as an allegation?

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? 

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.

Levy explores the ways that unintended and unexpected derailments can produce humor and hope in Meiji era literature.

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.