When Susan Meiselas’ exhibit, “Crossings,” first opened at the Art Institute of Chicago in 1990, it captured national attention.

Juxtaposing images of hostile exchanges between migrants and border patrol in California in 1989 with stirring scenes of war-torn Central America made during the 1970s and 1980s, the exhibit shed light on the role the U.S. played in fueling Central America’s prolonged displacement. Thirty-four years later, the exhibit embraces a new iteration as “Crossing Borders” on display in the Wittliff Collections.

A collaboration with participatory art and education project, Borderland Collective, “Crossing Borders” motivates viewers to identify connections between the past Meiselas documented and the present lived experiences of youth and their families in border regions of Texas.

In one gallery, the “Crossings” photographs are paired with video clips of “Pictures from a Revolution,” a documentary Meiselas made where she interviews individuals she photographed 10 years prior during the Nicaraguan Revolution. An adjacent gallery contains writing, photographs, and maps made by youth who worked with Borderland Collective.

Jason Reed, Borderland Collective co-founder, said the sightlines between the two galleries challenge viewers to make connections between them and see multiple layers of the migration experience.

“In the contrast between our work a truth emerges about migration — it is not a binary, Black and white experience but one full of nuance and gradation,” Reed said.