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Conversely, Valenzuela’s photography actively omits the familiar—no figures or trans-national ephemeras occupy the space.These staged scenes are devoid of people and strongly evoke a sense of loss—the viewer can feel the missing presence of the suggested narrator.The lens of the mainstream distorts its subjects to those in the center and those on the fringes—often causing rampant misunderstanding and forced invisibility of the latter.Coming out of the fringes on their own terms, these artists present their voices, experiences, and concerns through differing art forms.The works in this group show individually express the challenges and complexities of immigrant life in America, occupying the space between our lofty multicultural values and our whitewashed reality.Through their work artists Golnar Adili, Adela Andea, Michael Borek, chukwumaa, Elnaz Javani, Alejandra Regalado, Jerry Truong, and Rodrigo Valenzuela, designate immigrant groups as the center of discussions on art, practice, American values, socio-economics, and class.

Issues of official identity documentation are explored through abstracted, disembodied imagery in Golnar Adili’s (Iranian born) work.

There are mainstream exhibitions and Other exhibitions, but never both.

The Other is rarely given the decency to be contextualized with her mainstream contemporaries.

While much of the art world’s theoretical concerns lie within the project’s discussion of beauty, the economic element of the stark juxtaposition is a crucial factor.

The women are photographed against a white background, like an official identification card, and the objects are photographed against a white background, like that of an archeological find.

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