An alternate history of East and West might go beyond conceptual oppositions to uncover a mutual (though not always mutually beneficial) relationship of East-West exchange and the circulation of goods, labor, talent, and culture. This process has become more personalized as conditions now allow for increased travel, immigration, and overseas study. The titles above represent a number of Asian and Asian-American artists using artists’ books to create records of that experience, at times, as with Morimura Yasumasa’s Self-Portrait as Art History, through the camp interpretation of cultural canon. Other books, such as Cities on the Move (Kim Soo Ja) are critically aware of movement through space and time, suggesting also that urban flux mimics a greater global circulation. Many artists take foreignness and travel as their starting point; these include members of the residency program at Center for Contemporary Art, Kitakyushu, Japan: Chen Zhen, Transexperiences; Huang Yong Ping, Travel Guide for 2000—2046; Ken Lum, In Search of Wabi-Sabi; and Rirkrit Tiravanija, Passage Cosmo to Fishy Travels. Hysteric Seven (Dean Sameshima) replicates this on a metaphorical level, as the photos composing its visual poetry invoke cruising and gay trade as testimony to a process of blurred borders and transitory boundaries. Collectively, these books manifest a new image of communication: objects—whether people, books, Fine China (Ho Tam), or in the case of So Takahashi’s Transmissions, faxed images—going back and forth from one side to another. Just remember to bring a Passport (Zhang Yu).