What are the ethnographic arts through which we know and express the worlds we encounter? How does ethnographic experience become translated into/as art? How can the synergy between ethnography and art help us think about complex social processes, from climate change and species extinction to racialization, refugee rights, and collective memory? The authors of these essays work with and as artists. We are inspired to stretch our disciplined understanding of art to incorporate ethnographic theory, method, writing, and teaching. All of the pieces contribute to thinking about art and the making of ethnography as creative processes borne in desired relation. Each essay engages with questions of memory and materiality. Each essay reckons with the tension between form and content, which some of our writers resolve into experiments in ethnographic form: a prose-poem becomes a practice of “unworlding in the act of description”; an artist-anthropologist peers “into the surface of the paper, creating a Maliseet world through language, experience, and place”; everyday encounters surface as “fertile ground” that spill beyond the page and into a letterpress; teaching anthropology by learning to look closely at photographs or paintings becomes a way of cultivating the art of ethnographic attention; for the dyaspora pèpè (discarded diaspora), the materiality of music as artform and livelihood strategy is reborn as hope; music practice is revealed as a “musical web of solidarity and support” for the displaced; an anthropologist is inspired by the art practices of her interlocutors to imagine the conceptual “end of the refugee”; a scholar “in need of joy” finds pleasure in shared art creation within and beyond the demands of academic labor. What are the ethnographic arts that enable us “to turn private impressions into public expression”? What if anthropology were a way of learning “to see in the dark,” of finding in darkness an essential place of refuge where joy and relationality are built?