This article explores photography as a visual and material mediation that creates reinscriptions of the disappeared (desaparecidos) in contexts of violence and transitional justice.

One of the agendas of Caribbean studies has been to create archives—or, more accurately, counterarchives—in order to make claims about the modern world and the significance of the region to the global processes that have shaped it over the past five centuries.

The canonization of the Moscow poet Kirill Medvedev (born 1975) seems to be taking place in real time.