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“We decided to ask Raqs and Bow-Wow to collaborate on a "Temporary Autonomous Sarai" (to create) something that was physically modest, intended to be temporary, and programmatically could function as a sarai for the exhibition.” -curator Steve Dietz, How Latitudes Become Forms: Art in a Global Age Walker Art Gallery





Migratory patterns of participation can be traced out in both the physical and virtual routes of RAQs extended collaborators creating in memory if not in one’s immediate experience, a provisional, if thematic, network map (TAZ & OPUS ) While other artists, such as Mark Lombardi, have employed the logic of conspiracy to create narrative cartographies that chart out the complexities of global networks, RAQS prefers to tease out possible correspondences from an intrigued and/or provoked audience.





While sendentary powers have long used road systems and communications networks to efficiently enforce their authority, Global capitalism, combines nomadic strategy within the complex telecommunications networks of cyberspace. The Critical Art Ensemble asks "How can a subject be critically assessed that cannot be located, examined, or even seen?”





One’s environment may be constricted along socio-economic contours which narrow and homogenize psychogeographical experience in a space. "Most believe that survival depends on managed exposure to information overload" notes theorist Tom Sherman Terrain is textual in cyberspace, but as with the 'business as usual' itineraries that move one through a city there are also subtexts, so to speak, waiting to be uncovered in the infoscape.





The Wherehouse, as RAQs describes, “constitutes an assemblage of reflections on time, memory, movement, stasis and location in a world where some people are forced to abandon home, and others can be seen as being imprisoned by their assumptions about the stability of their present location." Cartesian coordinates of x and y give way to z-axes of possibility pursued by nomadic curiosity