“It’s no use walking anywhere to preach unless our walking is our preaching.” This methodological imperative, attributed to St. Francis of Assisi, is strangely instructive in thinking through Ken Lum’s mid-career survey, currently on view at the Vancouver Art Gallery. Lum rose to prominence in the late 1980s, quickly becoming emblematic of an international critical discourse concerning the photographic and the postmodern. Yet any discussion of the Canadian artist’s work must also account for how it directly engaged arguments about representation specific to his immediate artistic-intellectual