The way a city looks is, on any given day, both summation and confluence of hundreds of decisions made in the years and decades that preceded it. Across the history of photography, numerous photographers have taken it upon themselves to record the version of the city they experience with the understanding that the the presence of the landscape they take for granted is fleeting and vulnerable to choices made by government officials, developers, business interests, and even city residents who inhabit the sidewalk.
“Te yo taln ten nanatil lux cuxul sol xchulel ten lumaltic" (1)
In the misty, inhospitable mountains of Chiapas Mexico, the Zapatista rebel army continues to defend its territory from attack. But the government imposed media silence means that no news of their activities, or evidence of their existence reaches the outside world: a strategic cultivation of amnesia. Knowing that if they are forgotten, they will be massacred, the Ejercito Zapatista de Liberacion Nacional (EZLN) or Zapatista National Liberation Army has organized activities to invite researchers, students, artists and activists from around the world to apply for one of their escuelitas (schools of life). Being accepted means an invitation to come and live briefly in the communities but (unlike much ethnographic work) here the community itself sets the agenda and terms, date of entry and departure and all the activities in between.
“Graffiti represents (wo)man’s desire to communicate.” 
The photograph of a young, female graffiti artist next to a piece of graffiti that reads “Breast Cancer Awareness” is a reflection of a community longing to be heard. The history of breast cancer is one of shame and silence. Although many cases of breast cancer are documented throughout history, it was not until the 20th-century social movements concerning breast cancer that the majority of the public became aware of the severity of this disease.