This paper explores Jamelie Hassan’s The Oblivion Seekers (1985, 2008, 2009) and Vera Frenkel’s “...from the Transit Bar” (1992, 2014) in the context of “migratory culture” – a term coined by Mieke Bal and Miguel Ángel Hernández- Navarro to refer to a condition of our contemporary culture as shaped by traces of global migration. I argue that the use of heterogeneous assemblage to present a multiplicity of perspectives and temporalities fosters a rethinking of the viewer’s place in the world as an active participant implicated within migratory culture. Drawing on the concept of the foreigner in Julia Kristeva’s Strangers to Ourselves (1991), I further analyze Hassan and Frenkel’s positioning of the foreigner in the context of today’s unprecedented levels of global migration. I conclude by reflecting on how their works look towards the disappearance of the foreigner in contemporary migratory culture.