Buried within the question recently explored by Felicity D. Scott, ‘Who is the festival for?’, is the rapidly fading possibility of a public. It is a discourse that seems to slip too easily into arguments about the centrist compromise of regulated-, or neo-liberal, architectures of the state. The elaborate zones of exclusion raised for the National Gallery of Victoria’s inaugural Triennial, which follows its first International Festival of Photography, seem to point only toward one social imaginary: some of us—increasingly fewer of us—play the citizens. Others fall outside of the law, into a radically precarious and simultaneously emancipatory statelessness, a barbaric expanse coveted, nevertheless, by those searching for another world.