White Gaze works with an archive of National Geographic magazines to explore the mechanics of the 'white gaze'. Through a process of poetic subtraction, artist and filmmaker Michelle Dizon works with only the language on the original page to write a decolonial counterpoint to a way of imagining and representing the world that has historically served Western, colonial interests. This second edition includes a new introductory essay, 'The Sediment of Whiteness', which speaks to the way that National Geographic's images have functioned and continue to function as an assertion of property and ownership, particularly as issues around appropriation and fair use have surfaced in the digital age, along with an afterword by Việt Lê.