For over four decades the Canadian duo of Carole Condé and Karl Beveridge has been working in a unique mode of politically engaged documentary photography in order to expose the fallouts of global capitalism. Through a sustained dialogue with the artists, their protagonists — including labor organizers and migrant farm workers — have an ultimate say in fashioning their representations in Condé and Beveridge’s meticulously orchestrated photocollages. Taking as the main character an indigenous activist from Cochabamba, Bolivia, The Fall of Water restages Peter Bruegel the Elder’s painting The Fall of The Rebel Angels (1562) to present the allegory of the worldwide conflict between water defenders and water abusers—transnational corporations that commodify the precious resource, petroleum industry, and World Bank. In turn, Stories depict various forms of elder care in different social settings, in which storytelling itself constitutes the key to the work, and the elders become not simply the recipients of entertainment but vital repositories of ancestral knowledge.