In works characterized by openly manipulative techniques of symbolic overstatement, Luzia Simons, who was born 1953 in Quixadá, Brazil, takes a critical look at photography's claim to represent reality. The thirty-two digital collages in her Transit series presented in this book focus on the problematic theme of migration. They are an autobiographical contribution to the discussion of individual, social, and cultural identity as objects of administrative control by the state. The cosmopolitan artist, who has lived and worked in Germany since 1986, exposes in her series the self-serving principles of security employed by the apparatus of government. Her conceptual approach is based upon an artistic logic involving the fragmentation of scanned passports and travel documents. Arranged in Dadaesque collages, the intermingled fragments of these documents-symbolically stripped of meaning-expose the inner workings of these structures imposed by "higher authority" and pursue them to the point of the absurd.