When Mark Gevisser was a little boy, growing up in a apartheid South Africa, he was obsessed with maps, and with the Holmden’s Registry, Johannesburg’s Street Guide, in particular. He played a game called “Dispatcher” with this eccentric guide, transporting himself across the city into places that would otherwise be forbidden him. It was through “Dispatcher” that he discovered apartheid, by realising that he could not find an access route to the neighbouring township of Alexandra, and later, by realising that Soweto was not mapped at all. This was the beginning of a lifelong obsession with maps and with photographs, and what they tell us about borders and boundaries: how we define ourselves by staying within them, or by transgressing them.