The coexistence of different temporalities is a defining characteristic of Bamakois urbanism. Bamako is a place where the past unavoidably engenders a symbiotic meeting with the present, a place where tradition and heritage are at one with modernity. From these perspectives, I consider Bamako a “city village” where tall modern buildings rise in close proximity to modest residential dwellings of neotraditional design, and modern cars mingle, at times, with animal-driven carts. While these characteristics make Bamako an ideal site for discursive exhibition platforms, it should be noted that Mali is one of the least economically prosperous countries in the region. On first sight it lacks the infrastructure to host international art happenings: there exist no degree-granting educational establishments providing photography courses at any level; there is virtually no collector base; and there are no major art-publishing initiatives, to name a few enabling prerequisites.