Real estate greed, the glutted police budget, ceaseless gentrification, racist journalists, Eric Adams, Kathy Hochul, white people—we cycled through the injustices, against them, resuscitating despair into focused rage.

For most of us, our cars, no matter how much we cherish them, hold us in social and economic custody. As more and more vehicles are financed, and with higher loans and interest rates, creditors exert a carceral pull over our ability to earn a sustainable livelihood. Perhaps the most telling evidence of this servitude is that, in times of financial stress, households will prioritize their monthly car payments over all others, including basic necessities. Surely it is the mark of our perverse civilization when food, medical care, and housing have to take a back seat to our need to keep wheels on the road.

There is a symmetry between Corky Lee’s passing and the rise of Stop Anti-Asian Hate: the departure of Asian America’s greatest documentarian and its most visible recent efflorescence. Years earlier, the brief window of postwar Asian American radicalism seemed to have already swung shut. Today, our most notable figures are corporate CEOs and conservative politicians, the eponymous Asians rich and crazy, so the artists, revolutionaries, and workers preserved in Lee’s prints can feel as elusive as their author. No matter how distant an Asian American poor people’s movement may seem, his prints still vibrate with radical temporality and potential.

In May 2018, as Trump’s family separation policy became a major scandal, former Obama speechwriter and “Pod Save America” host Jon Favreau tweeted a photo of two migrant girls sleeping on the floor of a cage. “Look at these pictures. This is happening right now, and the only debate that matters is how we force our government to get these kids back to their families as fast as humanly possible.” As a number of his replies pointed out, the photos were actually from 2014, when his boss was still President. As with Biden’s response to the recent assault on Haitians, Favreau was fixated on the image.