Spatial orientation becomes a rather difficult task if the unity of space disappears. However, this is precisely what is happening today: the horizon of the common world that we share with others has become so blurred that its mere mention provokes a sarcastic smile. Meanwhile, the immediate environment through which individuals navigate is disintegrating into a series of mutually incommensurable environments. The possibility of understanding uprootedness as an opportunity to invent new worlds, which artists especially benefited from at the dawn of modernity, has become inevitable for all due to the political, economic, and ecological changes of recent decades. Within the globalized conditions of production and consumption, we not only can but must move between places, contexts, and identities with the same ease with which we switch windows in an internet browser. Despite the weariness of constant movement, we appreciate the permeability of borders, which allows us to expand the spectrum of lifestyles available. On the other hand, borders are closed to those who are forced to cross them while fighting for their lives. Contemporary art serves as both the embodiment of the ideological fiction of global unity and its critique, operating on transnational platforms as a practice of translation between local experiences. Similarly, the global information and communication network display a similar ambivalence: the more we feel at home in it, the more we use it to defend our partial homelands in the “real world.”