As an academic field in its own right, the topic of border studies is experiencing a revival in university geography courses as well as in wider political commentary. Until recently, border studies in contemporary Southeast Asia appeared as an afterthought at best to the politics of interstate rivalry and national consolidation. The maps set out all agreed postcolonial lines. Meanwhile, the physical demarcation of these boundaries lagged. Large slices of territory, on land and at sea, eluded definition or delineation. That comforting ambiguity has disappeared. Both evolving technologies and price levels enable rapid resource extraction in places, and in volumes, once scarcely imaginable. The beginning of the 21st century's second decade is witnessing an intensifying diplomacy, both state-to-state and commercial, over offshore petroleum. In particular, the South China Sea has moved from being a rather arcane area of conflict studies to the status of a bellwether issue. Along with other contested areas in the western Pacific and south Asia, the problem increasingly defines China's regional relationships in Asia, and with powers outside the region, especially the United States. Yet intraregional territorial differences also hobble multilateral diplomacy to counter Chinese claims, and daily management of borders remains burdened by a lot of retrospective baggage. The contributors to this book emphasize this mix of heritage and history as the primary leitmotif for contemporary border rivalries and dynamics. Whether the region's 11 states want it or not, their bordered identity is falling into ever sharper definition, if only because of pressure from extraregional states. This book aims to provide new ways of looking at the reality and illusion of bordered Southeast Asia.

In Return Engagements artist and critic Việt Lê examines contemporary art in Cambodia and Việt Nam to rethink the entwinement of militarization, trauma, diaspora, and modernity in Southeast Asian art. Highlighting artists tied to Phnom Penh and Sài Gòn and drawing on a range of visual art as well as documentary and experimental films, Lê points out that artists of Southeast Asian descent are often expected to address the twin traumas of armed conflict and modernization, and shows how desirable art on these themes is on international art markets. As the global art market fetishizes trauma and violence, artists strategically align their work with those tropes in ways that Lê suggests allow them to reinvent such aesthetics and discursive spaces. By returning to and refashioning these themes, artists such as Tiffany Chung, Rithy Panh, and Sopheap Pich challenge categorizations of “diasporic” and “local” by situating themselves as insiders and outsiders relative to Cambodia and Việt Nam. By doing so, they disrupt dominant understandings of place, time, and belonging in contemporary art.