Catherine Poncin is, as the art historian Paul Ardenne puts it, a post-photographer, in the sense of post-production: she gathers ready-made, banal photographic images wherever she finds them, from flea markets to abandoned archives, then selects a picture for its potential as a vessel of memory and begins to investigate it. This book gathers work from residencies Poncin undertook in Bogotá, Colombia, among other places, extending her ongoing practice of excavating meaning from discarded and anonymous photographs.