On November 20th, 2003, I watched Miami's Biscayanne Boulevard fill with hundreds of riot police put in place to secure the annual meeting of the Free Trade Area of the Americas, a pact that would expand NAFTA-style free trade into all of Latin America. Over the next hour I videotaped these men and women push, shoot, and brutalize a diverse community of protesters out of the heart of a shuttered downtown. Towards the end of my footage an officer raises his gun, aims, and shoots me in the chest with a rubber bullet.

An hour later I retraced our steps and watched as garbage trucks, street cleaners, and painters removed the graffiti, chemical residue, and non-lethal projectiles. I watched helplessly as the brutal reality of this new era was deliberately, and effectively disappeared.

This experience has not only fueled my involvement in New York City's activist community, but also significantly informed my creative practice. Since that time my work as an artist and activist has foregrounded socio-political forces embedded in the physical landscape, while expanding the historical context and imaginative space in which we experience place.

Through the installation of photographs in public spaces, I animate the past by offering visual evidence of a place that has been changed, or no longer exists. Operating as location-specific "history lessons," these interventions create a sense of temporal ambiguity in which past and future are confused, and the act of memory is exposed as a subjective process in which the viewer plays an active role.