Figure 1 Ji Yeo, Beauty Recovery Room 001, 22 years old, Seoul, South Korea , 2009. © Ji Yeo. More

Figure 2 Ji Yeo, Beauty Recovery Room 002, 23 years old, Seoul, South Korea , 2009. © Ji Yeo. More

Figure 4 Ji Yeo, It Will Hurt a Little, 17th Floor Waiting Room , 2014. © Ji Yeo. More

Figure 1 Tong Lam, untitled (2013), from the series Where There Is No Room for Fiction . Light box. Prior to the violent confrontation between the authorities and the land-owning villagers in 2010, there were about fifty thousand people—mostly unskilled rural migrants—living in Xian Village More

Figure 2 Tong Lam, untitled (2015), from the series Where There Is No Room for Fiction . Light box. Prior to its urbanization in the 1980s, Xian Village was made up of picturesque farmlands and tranquil fishing ponds. After its partial demolition, the village began to look more like a scene More

Figure 3 Tong Lam, untitled (2015), from the series Where There Is No Room for Fiction . Light box. As soon as the authorities began to erect construction hoardings around the village in order to separate it from the adjacent neighborhoods, many businesses inside were forced to close down More

Figure 4 Tong Lam, untitled (2017), from the series Where There Is No Room for Fiction . Light box. Villagers waiting for their families to arrive for the Lunar New Year banquet in one of the ancestral halls. Because of the government's divide-and-conquer strategy, a discord emerged among Xian More

Figure 5 Tong Lam, untitled (2016), from the series Where There Is No Room for Fiction . Light box. All village “public” spaces such as this former schoolyard were accessible to landowning villagers only. Yet a group of English-speaking South Asian kids from the area's upscale apartments More

Figure 6 Tong Lam, untitled (2015), from the series Where There Is No Room for Fiction . Light box. The sealed entrance of the partially demolished school with a projected image of children from landowning households playing soccer. Courtesy of the artist. More

Figure 7 Tong Lam, untitled (2014), from the series Where There Is No Room for Fiction . Light box. An image of a rural migrant renter projected onto a half-demolished building. Courtesy of the artist. More

Figure 8 Tong Lam, untitled (2014), from the series Where There Is No Room for Fiction . Light box. An image of a migrant worker projected next to graffiti art. Since the negotiation stalemate, the village has become a haven for graffiti artists who use their works to comment on China's urban More

Figure 1 Photo of Xiao Hai in 2017, in the Migrant Workers Home library/reading room, holding a copy of Haizi's collected works. His hat says “Work hard play hard.” The white front cover of Howl in the Factory , his own collection of poetry, published in the unofficial Picun series, is visible More