I kept shooting but started making drafts of the work, essentially spending a few days a month sequencing and editing, hanging things up on the board, showing them to trusted confidantes from in and outside the photo world. It started to take its shape naturally over time until I kind of ran out of ideas.

I was taking all prints and I brought them to the Magnum meetings, trying the old Josef Koudelka trick: Give them to photographers, who are getting bored during the talks about the economics of the agency, to look through with a pen. They'll separate them in two piles. I started to find the core pictures that people seem to relate to.

I am still covering conflict to some degree. I was back in Iraq. I've covered quite a bit of the Israel and Palestine. But I'm not doing it with the kind of intensity I was before and I'm not seeking out the front line and the kind danger that comes with being at the edge of the war the way I used to.

I think a lot of the work I've done and a lot of the work I'm going to do in the future still ties to 9/11 and the fallout from it.

I began to explore America in more general terms. I really started this work in 2009. I got the bulk of it done as I was easing out of Disco Night.

Even though most people were disconnected from [travel ban], the moment amplified a fairly massive and somewhat irrational fear that exists in the populace at large.

The travel ban that was imposed by the [Donald Trump] administration is a very direct reverberation of 9/11.