Conceptual photographer Ken Kitano’s landscapes and portraits of contemporary Japan challenge what he perceives as globalization’s homogenization of time and space. In his “Our Face” (1999–) series, Kitano takes black-and-white photos of individuals in specific professions, clubs, and associations, then superimposes each photo atop one another. These ethereal and ghostlike images of composite sitters eradicate the different hierarchies and styles within a group, emphasizing their shared light and space. “‘Globalisation’ sounds like a structure where homogeneous people and a single ideology exist centering around one ‘center’,” he says. “There is no such thing as ‘the center’ in this world. I imagine the world to be composed of many localities.” Primarily driven by explorations of process, Kitano also uses extremely long exposures to capture different temporal experiences that the pace of globalized life has caused to go unnoticed.