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“What activist art does is actually a promiscuous theft of historical or archival possibilities. It digs down into that surplus archive, repurposing aspects of it, sometimes in the process repairing some of these gaps and broken pieces, and it functions in a way that is very much like a kind of mistake or error code in the idea of history itself. So if I was going to say, what is "after history?:", it’s perhaps already present in history proper, and that is the sort of noise function that has been sort of canceled out or is attempted to be canceled”—Greg Sholette.

“I look at people conscious of how in some ways enclosed, bubble they are by having this 'audio umbilical cord' that keeps them in touch in one case in a café in Lisbon, this man may have been talking to family, friends, comrades in a village in Africa, and yet also in some ways removes them from their actual circumstance of still being fixed in time and place and in some ways distracted and abstracted from the conditions of the present and a specifically locality as well.” —Sally Stein

“Because of the book, the exhibition was clear and very well structured, and had a beginning which was a process, like a room gallery in which these issues were very visible. How he migrated from black and white towards color as a sensibility to the aesthetic of the work, and how philosophy, sociology, and literary sources were crucial to understand the narrative of the work." -Gabriela Rangel

Patricia Patterson’s INSITE97 project was a collaborative effort to transform a small home in Tijuana into a visually captivating space for the surrounding community to meet, talk, eat, and engage in activities with one another. Working over a period of nine months, Patterson and her team of students and craftsmen renovated, painted, and landscaped the home of the Resendiz family to create a vibrant center in the residential colonia. Once complete, La Casita en la Colonia Altamira, Calle Rio de Janeiro No. 6757, Tijuana hosted numerous parties, brunches, and other gatherings of both local residents and visitors from San Diego, making the house a space for cross-cultural exchange and diversity.

Using water pumped from a well several miles northeast of the site, artist Louis Hock built a double-sided drinking fountain with one head on each side of the border. People bending to drink from the heads could see each other through a hole cut in the metal fence.