30 years after the fall of the Berlin Wall, we live in a time of globalization and free trade. Nevertheless, 70 new border walls have been built in this period - put together, they would cover the total circumference of the Earth. While governments offer manifold justifications for building these separation barriers, they invariably attract the attention of artists. Is it merely the lure of transgression, however, that attracts them - or is there a deeper significance in the artistic encounter with border walls? And which artistic strategies do these artists employ to approach them? In order to address these questions, Élisa Ganivet revisits the history of border wall aesthetics and compares more recent border-related works by 100 artists, including Joseph Beuys (Berlin), Banksy (Israel-Palestine), and Frida Kahlo (Mexico-US). Through art and thus beyond art, we understand the flaws and shortcomings of supposedly well-oiled systems. With a preface by Élisabeth Vallet.

Borderwall as public space / Teddy Cruz -- Ronald Rael -- Pilgrims at the wall / Marcello Di Cintio -- Borderwall as architecture / Ronald rael -- Transborderisms / Norma Iglesias-Prieto -- Recuerdos / Ronald Rael -- Why walls don't work / Michael Dear -- Afterwards / Ronald Rael

We build border walls to keep danger out. But do we understand the danger posed by walls themselves? East Germans were the first to give the crisis a name: Mauerkrankheit, or “wall disease.” The afflicted—everyday citizens living on both sides of the Berlin wall—displayed some combination of depression, anxiety, excitability, suicidal ideation, and paranoia. The Berlin Wall is no more, but today there are at least seventy policed borders like it. What are they doing to our minds? Jessica Wapner investigates, following a trail of psychological harm around the world. In Brownsville, Texas, the hotly contested US-Mexico border wall instills more feelings of fear than of safety. And in eastern Europe, a Georgian grandfather pines for his homeland—cut off from his daughters, his baker, and his bank by the arbitrary path of a razor-wire fence built in 2013. Even in borderlands riven by conflict, the same walls that once offered relief become enduring reminders of trauma and helplessness. Our brains, Wapner writes, devote “border cells” to where we can and cannot go safely—so, a wall that goes up in our town also goes up in our minds. Weaving together interviews with those living up against walls and expert testimonies from geographers, scientists, psychologists, and other specialists, she explores the growing epidemic of wall disease—and illuminates how neither those “outside” nor “inside” are immune.

An esteemed journalist delivers a compelling on-the-ground account of the construction of President Trump’s border wall in San Diego—and the impact on the lives of local residents. In August of 2019, Donald Trump finished building his border wall—at least a portion of it. In San Diego, the Army Corps of engineers completed two years of construction on a 14-mile steel beamed barrier that extends eighteen-feet high and cost a staggering $147 million. As one border patrol agent told reporters visiting the site, “It was funded and approved and it was built under his administration. It is Trump’s wall.” 14 Miles is a definitive account of all the dramatic construction, showing readers what it feels like to stand on both sides of the border looking up at the imposing and controversial barrier. After the Department of Homeland Security announced an open call for wall prototypes in 2017, DW Gibson, an award-winning journalist and Southern California native, began visiting the construction site and watching as the prototype samples were erected. Gibson spent those two years closely observing the work and interviewing local residents to understand how it was impacting them. These include April McKee, a border patrol agent leading a recruiting program that trains teenagers to work as agents; Jeff Schwilk, a retired Marine who organizes pro-wall rallies as head of the group San Diegans for Secure Borders; Roque De La Fuente, an eccentric millionaire developer who uses the construction as a promotional opportunity; and Civile Ephedouard, a Haitian refugee who spent two years migrating through Central America to the United States and anxiously awaits the results of his asylum case. Fascinating, propulsive, and incredibly timely, 14 Miles is an important work that explains not only how the wall has reshaped our landscape and countless lives but also how its shadow looms over our very identity as a nation.

Few concepts are as central to understanding the modern world as borders, and the now-thriving field of border studies has already produced a substantial literature analyzing their legal, ideological, geographical, and historical aspects. Such studies have hardly exhausted the subject’s conceptual fertility, however, as this pioneering collection on the aesthetics of borders demonstrates. Organized around six key ideas—ecology, imaginary, in/visibility, palimpsest, sovereignty and waiting—the interlocking essays collected here provide theoretical starting points for an aesthetic understanding of borders, developed in detail through interdisciplinary analyses of literature, audio-visual borderscapes, historical and contemporary ecologies, political culture, and migration.

How is it that walls, borders, boundaries—and their material and symbolic architectures of division and exclusion—engender their very opposite? This edited volume explores the crossings, permeations, and constructions of cultural and political borders between peoples and territories, examining how walls, borders, and boundaries signify both interdependence and contact within sites of conflict and separation. Topics addressed range from the geopolitics of Europe’s historical and contemporary city walls to conceptual reflections on the intersection of human rights and separating walls, the memory politics generated in historically disputed border areas, theatrical explorations of border crossings, and the mapping of boundaries within migrant communities.

In her Brookings Essay, The Wall, Brookings Senior Fellow Vanda Felbab-Brown explains the true costs of building a barrier along the U.S.-Mexico border, including (but not limited to) the estimated $12 to $21.6 billion price tag of construction. Felbab-Brown explains the importance of the United States' relationship with Mexico, on which the U.S. relies for cooperation on security, environmental, agricultural, water-sharing, trade, and drug smuggling issues. The author uses her extensive on-the-ground experience in Mexico to illustrate the environmental and community disruption that the construction of a wall would cause, while arguing that the barrier would do nothing to stop illicit flows into the United States. She recalls personal interviews she has had with people living in border areas, including a woman whose family relies on remittances from the U.S., a teenager trying to get out of a local gang, and others.

“Fear deer no more! The best source I’ve seen on the topic!” —Tracy DiSabato-Aust, award-winning garden designer and best-selling author Deer are one of the most common problems a gardener can face. These cute but pesky animals can quickly devour hundreds of dollars’ worth of plants. And common solutions include the use of unattractive fencing and chemicals. In Deer-Resistant Design, Karen Chapman offers another option—intentional design choices that result in beautiful gardens that coexist with wildlife. Deer-Resistant Design showcases real home gardens across North America—from a country garden in New Jersey to a hilltop hacienda in Texas—that have successfully managed the presence of deer. Each homeowner also shares their top ten deer-resistant plants, all welcome additions to a deer-challenged gardeners shopping list. A chapter on deer-resistant container gardens provides suggestions for making colorful, captivating, and imaginative containers. Lushly illustrated and filled with practical advice and inspiring design ideas, Deer-Resistant Design is packed with everything you need to confidently tackle this challenging problem.

This project presents a unique collaboration between photographer Richard Misrach and composer and performer Guillermo Galindo. Misrach has been photographing the 2,000-mile border between the US and Mexico since 2004, with increased focus since 2009--the latest installation in his ongoing series Desert Cantos, a multifaceted approach to the study of place and man's complex relationship to it. Misrach and Galindo have been working together to create pieces that both document and transform the artifacts of migration. Using water bottles, clothing, backpacks, Border Patrol drag tires, spent shotgun shells, ladders and sections of the border wall itself, most of which were collected by Misrach, Galindo fashions instruments to be performed as unique sound-generating devices. He also imagines graphic musical scores, many of which also use Misrach's photographs as points of departure. A unique melding of the artist as documentarian and interpreter, the book includes several suites of photographs drawn from a number of distinct series or Cantos, some made with a large-format camera as well as an iPhone. The book contains a compilation of two dozen sculpture-instruments, graphic scores, instrument designs and links to videos of performances by Galindo.

Border walls permeate our world, with more than thirty nation-states constructing them. Anthropologists Margaret E. Dorsey and Miguel Díaz-Barriga argue that border wall construction manifests transformations in citizenship practices that are aimed not only at keeping migrants out but also at enmeshing citizens into a wider politics of exclusion. For a decade, the authors studied the U.S.-Mexico border wall constructed by the Department of Homeland Security and observed the political protests and legal challenges that residents mounted in opposition to the wall. In Fencing in Democracy Dorsey and Díaz-Barriga take us to those border communities most affected by the wall and often ignored in national discussions about border security to highlight how the state diminishes citizens' rights. That dynamic speaks to the citizenship experiences of border residents that is indicative of how walls imprison the populations they are built to protect. Dorsey and Díaz-Barriga brilliantly expand conversations about citizenship, the operation of U.S. power, and the implications of border walls for the future of democracy.