The contributions to this second issue of Qalqalah were born from encounters and discussions held during seminars we recently organized or were invited to attend. Collecting Matters: The Place from Where We Look, organized in June 2015 in Paris by Kadist Art Foundation, examined collecting strategies, the re-writing of art history and the reconfiguration of artistic practices in the age of globalization. Bringing together six young international professionals, curators and researchers, the discussions focused on the notion of locality. If “the place from where we look” is socially, ideologically and culturally conditioned by a given society, what view should we take of our practices in a globalized context? Between Knowing and Unknowing: Research in-and-through-Art, a seminar organized by the Times Museum of Guangzhou in September 2015 attended by Bétonsalon, led to an encounter with Indonesian historian Antariksa. There he presented a mapping of practices and ways of teaching in Indonesia, in a dialogue between local traditions and global influences. Testifying of displacements and frictions, convergences and porosities, his accounts resonate in our ways of working and thinking a world in constant motion, with geographies stretched out and reconfigured by the “imagined communities” Arjun Appadurai was already speaking about back in 1996, after Benedict Anderson’s “imagined communities”. They lend a historical depth to other more contemporary narratives expressed around “scenes” or “regions” often associated — in the imagination of the “art milieu” — to markets rather than to networks of influences and artistic and intellectual exchanges.