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ESTAMOS BUSCANDO A
FEATURED | VIEWING ROOM
Estamos Buscando A is a multi-faceted series that explores and contemplates the migrant experience in Mexico along the U.S. - Mexico border through various practices, including site-specific public art installation, text and photo-based personal narratives, a gallery-based border wall installation, a migrant guide photo book and select border wall fragment works, spanning a 16-year period from 2002 - 2017.
EPIPHANIES IN ANCIENT SANDS
LATEST | ARTIST BOOK OF THE TOPAZ WAR RELOCATION CENTER IN UTAH
Public Proclamation No. 4, issued under the authority of President Franklin D. Roosevelt's Executive Order 9066, was a key military order that formally began the forced evacuation and detention of Japanese American civilians on the U.S. West Coast during World War II. Under Public Proclamation No. 4, issued by the Army's Western Defense Command on March 29, 1942, Japanese American residents were given as little as 48 hours notice to leave their homes, sell or store property, and report to assembly centers.

For the Japanese American community of the San Francisco Bay Area - one of the largest and most established on the West Coast - families were given only days to dispose of homes, businesses, and possessions before being forced onto buses for the Tanforan Assembly Center. Converted from a horse racing track in San Bruno, California, the site held nearly 8,000 Japanese Americans between April and October 1942 as a temporary detention center while permanent camps were being built inland. Many families were housed in horse stalls that had only recently sheltered animals, with linoleum-covered floors still stained by manure and inadequate ventilation, and others were placed in hastily constructed barracks.
Starting in September 1942, most of the incarcerated citizens at Tanforan were transported by train to the Central Utah Relocation Center – more popularly known as Topaz – located at a dusty site in the Great Basin of central Utah. Packed by the War Relocation Authority into crowded railcars, families and individuals spent about two nights and a day to reach Topaz, which was still under construction. Between 1942 and 1945, the Topaz War Relocation Center held more than 8,000 people, exposing its prisoners to extreme heat, dust storms, and bitter cold, while families tried to build stable lives in overcrowded tar-paper barracks with little privacy and limited resources.

Famous for her Depression-era photographs documenting poverty and displacement, Dorothea Lange was hired by the War Relocation Authority (WRA) to record the forced removal and incarceration of Japanese Americans citizens in the San Francisco Bay Area and Central Valley as well as the Manzanar War Relocation Center. Between February and July 1942, Lange made more than 800 hundred photographs that challenged the WRA narrative – relocation for national security reasons – with images revealing the coercion, humiliation, and emotional trauma of personal identity being taken. As a result, the government imposed restrictions on what was photographed as well as withholding them for publication for the duration of the war, including censoring them with the word, “impounded,” on numerous prints.
10 archival pigment prints on Canson Prestige II
5 text sheets on Canson Rag Photographique
3 archival pigment prints by Dorothea Lange on Mylar
Summary statement, map, colophon and index sheet on Canson Rag Photographique
Chiyogami silkscreened paper covered book binders board with four-flap archival folder

14-3/8 x 11-3/8 x 7/8 inches
EPIPHANIES IN ANCIENT SANDS

BROADSIDES
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SELECTIONS FROM BENEATH THE DIRT OF GREAT MEN
FORTHCOMING | THE PHOTOGRAPHY SHOW PRESENTED BY AIPAD – NEW YORK | APRIL 22-26, 2026
Once known as the “petroleum graveyard,” Beneath the Dirt of Great Men exposes the carbon landscape in the Permian Basin of Southeast New Mexico and West Texas. With climate change, land use, and energy policy at the forefront of our national consciousness, the work contemplates the extraction of crude oil and natural gas in the largest reserve of these natural resources in the United States.

jdc Fine Art will present select framed book plate prints to be shown beside a copy of the limited edition artist book, which contains additional images of oil pump jacks and waste water evaporation ponds used in the fracking process along with fragmented text adapted from vintage oil and petroleum company advertisements, a summary statement, map and colophon.

The Photography Show presented by AIPAD will be at the Park Avenue Armory in New York City from April 22 - 26, 2026.
BENEATH THE DIRT OF GREAT MEN

BROADSIDES
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