A photo strip of a soldier with the name “Hines” on his uniform is displayed next to a burning red candle.

Jessica Hines, Untitled #11, I Pray For Your Spirit from the series My Brother’s War, United States of America, 2009; digital print on aluminum, 24 x 17 1/8 inches; Courtesy of the artist.

Near a body of water, a Black woman dressed in white stands, eyes closed and palms pressed together, as another person burns bundled herbs around her.

Glenna Gordon, A Ma’afa ceremony . . . from the series American Women, Montgomery, Alabama, July 13, 2019; digital print on aluminum, 28 x 21 inches; Courtesy of the artist.

An aged photograph of a young man is displayed against a starry night sky, reflected in water below.

Jessica Hines, The Reconciliation #13 from the series My Brother’s War, United States of America, 2018; digital print on aluminum, 24 x 18 inches; Courtesy of the artist.

A long road in the middle of flat land stretches straight toward a distant mountain beneath a cloudy sky.

Andrew Lichtenstein, Crazy Horse’s Vision from the series American Memory, Bear Butte, Sturgis, South Dakota, 2011; digital print on aluminum, 31 11/16 x 40 inches; Courtesy of the artist.

Two people with dark skin walk along a street holding a large orange sign reading “Abolish White Supremacy.”

Glenna Gordon, A protest in New York City from the series American Women, New York, New York, November 1, 2019; digital print on aluminum, 21 x 28 inches; Courtesy of the artist.

A black-and-white photo of a young boy standing before a fence lies beside a color photo of a man standing before the same fence.

Jessica Hines, Introduction, Gary Hines #1 from the series My Brother’s War, United States of America, 2010; digital print on aluminum, 24 x 18 inches; Courtesy of the artist.

A digital print shows the front and back of a handwritten letter separated by an image of a cloudy sky and a silhouetted tree.

Jessica Hines, The Reconciliation #2 from the series My Brother’s War, United States of America, n.d.; digital print on aluminum, 12 3/4 x 35 13/16 inches; Courtesy of the artist.

A Black woman wearing an Easter Sunday church outfit, including a white hat with feathers, holds white lilies in front of a burned-down church.

Glenna Gordon, Celina Richard Guidry stands . . . from the series American Women, Opelousas, Louisiana, Easter Sunday 2019; digital print on aluminum, 40 x 30 inches; Courtesy of the artist.

Houses beneath tall, silhouetted trees are partially illuminated by an unseen light in the darkness.

Nina Berman, A housing development behind the Starmet site from the series Acknowledgement of Danger, Concord, Massachusetts, July 3, 2016; digital print on aluminum, 22 x 27 1/2 inches; Courtesy of the artist.

A young boy with an amputated foot slouches in a wheelchair, playing with a pink balloon in the air.

Andrea Bruce, Omar, 9, plays in a hotel room he shares with his father . . . from the series Unseen Iraq, Amman, Jordan, 2000; digital print on aluminum, 14 x 21 inches; Courtesy of the artist.

Flowers obscure the view of a photo of a military helicopter in the air while another sits grounded.

Jessica Hines, Untitled from the series My Brother’s War, United States of America, n.d.; digital print on aluminum, 22 x 24 inches; Courtesy of the artist.

A young girl wearing a white hijab stands among a group of seated girls also wearing hijabs, holding a book as she looks up and away from the group.

Monika Bulaj, Girls’ School in Herat from the series Afghanistan, Not the War Only, Herat, Afghanistan, 2009; digital print on aluminum, 14 1/8 x 21 inches; Courtesy of the artist.

An older man holds his head in his hand while sitting on a couch beneath two mounted deer heads.

Andrew Lichtenstein, The Last Resident of Pigeonroost Hollow from the series American Memory, Blair Mountain, Logan County, West Virginia, 2010; digital print on aluminum, 31 13/16 x 40 inches; Courtesy of the artist.

A young fair-skinned boy in a jacket holds a paper sack and a flower bulb while looking off to the side.

Adam Patterson, A young boy in Ballysillan estate plants flower bulbs . . . from the series Men and My Daddy, Belfast, Northern Ireland, 2010; digital print on aluminum, 21 x 21 inches; Courtesy of the artist.

A white woman dressed up as a Confederate widow in a black antebellum dress and veil stands beside a grave adorned with a Confederate flag wreath.

Glenna Gordon, Tara Bradley dresses up as . . . from the series American Women, Raymond, Mississippi, April 21, 2018; digital print on aluminum, 40 x 30 5/8 inches; Courtesy of the artist.

Several tanks of goldfish sit on a roadside display opposite residential homes.

Sara Terry, Goldfish for sale . . . , Capljina, Bosnia, March 30, 2004; digital print on aluminum, 14 7/16 x 22 inches; Courtesy of the artist.

Five dark-skinned women dressed as historical reenactors stand side-by-side centered in a neighborhood road, two carrying weapons and one holding a drum.

Glenna Gordon, Actors and civilians gather . . . from the series American Women, Norcal, Louisiana, November 8, 2019; digital print on aluminum, 21 x 28 inches; Courtesy of the artist.

A woman wearing a headscarf bends over and looks into a white body bag containing human remains.

Sara Terry, Muslim widow examines body bags . . . , Sanski Most, Bosnia, July 2001; digital print on aluminum, 14 3/4 x 22 inches; Courtesy of the artist.

Glenna Gordon, A woman thumbs through her bible . . . from the series American Women, Opelousas, Louisiana, Good Friday, April 19, 2018; digital print on aluminum, 21 x 32 inches; Courtesy of the artist.

A digital print shows the front and back of a handwritten letter separated by an image of a soldier.

Jessica Hines, The Reconciliation #20 from the series My Brother’s War, United States of America, n.d.; digital print on aluminum, 12 3/4 x 30 inches; Courtesy of the artist.

A young woman in a floral antebellum dress and wide-brimmed hat stands between two matching twin beds with ruffled canopies.

Glenna Gordon, Pilgrimage weekend . . . from the series American Women, Holly Springs, Mississippi, April 6, 2019; digital print on aluminum, 21 x 28 inches; Courtesy of the artist.

Three male African amputees from Sierra Leone stand on a beach as one plays with a soccer ball and the other two on crutches watch.

Pep Bonet, War amputees soccer team from the series Faith in Chaos, Freetown, Sierra Leone, June 2002; digital print on aluminum, 14 1/8 x 21 inches; Courtesy of the artist.

A young boy stands backlit between a window and sheer curtain, with his hands raised, pushing against the curtain.

Donald Weber, Danil Kravets, 6 from the series Into the Half Life, Zholtye Vody, Ukraine, April, 2012; digital print on aluminum, 21 x 14 inches; Courtesy of the artist.

How We Rebuild

Offering meaningful community engagement opportunities, the exhibition includes award-winning photographs from The Aftermath Project, a nonprofit organization committed to telling stories after trauma, when individuals rebuild destroyed lives and homes, restore civil societies, and recover the heartbeat of humanity.

Touring Now, Bookings Available

Security: Limited

$3,120

In-Region Fee

$5,200

Out-of-Region Fee

7 Weeks

Duration

This penetrating and transformative photography exhibition draws from twelve years of work created by grant winners and finalists from The Aftermath Project, a non-profit organization committed to telling the other half of war stories, after the conflicts have ended—what it takes for individuals to rebuild destroyed lives and homes, to restore civil societies, and to recover the heartbeat of humanity.

How We Rebuild is organized in three sections: a prologue that features conflict and post-conflict photos from Bosnia, and lays out the origin story of The Aftermath Project; a suite of images by four photographers who explore historical American aftermaths; and an international “wall of humanity” featuring post-conflict images from around the world.

The photos selected for How We Rebuild have been curated as a way to center and reflect on the human stories and memories that define us. The exhibition will be supported by visual literacy frameworks and a plethora of public programming tools to help hosting venues plan meaningful community engagement—engagement focused on the roles that visual narratives can play in helping communities heal.

This beautiful assembly of images of hope, agency, and resilience includes work by Aftermath Project founder Sara Terry, war photographer Ron Haviv, 2019 grant winner Glenna Gordon, 2016 grant winner Nina Berman, 2012 grant winner Andrew Lichtenstein, 2010 finalist Jessica Hines and additional Aftermath Project grant winners and finalists.

Exhibition Details

FEE INCLUDES

Press Kit
Registrar’s Packet
Programming Guide
Gallery Guide
Text Panels
Narrative Labels
Full Insurance
Installation Instructions
Custom-Designed and Built Crates

Curated By

Sara Terry

Organized By

Exhibits USA

part of Mid-America Arts Alliance

Tour Schedule

How We Rebuild will tour January 2023 through January 2028. The dates below reflect seven-week exhibition periods. Dates are subject to change; please contact MoreArt@maaa.org or (800) 473-3872 x208/209 for current availability.

Apr 6 – Aug 11 2026

Converse County Library at Douglas Glenrock, Wyoming

booked

Sep 1 – Oct 20 2026