[Ed. note] In 2012, the Israeli artist Michal Heiman came across Hugh Welch Diamond’s photograph (ca. 1855) of a patient at the Surrey County Lunatic Asylum in England, and amongst the photographs, found herself looking at a picture of her younger self. This encounter led Heiman to start a photography project looking at the conditions of possibilities for “return”, asking how are our imaginative practices bound up with the process of political recognition. As Sharon Sliwinski asks in her essay included in this issue: “Is Continue reading → Continue reading →