Today s curators and programmers are increasingly faced with political choices. In addition to balancing art, box office and pressure from funders, the choice of artist and production often mirrors current social and political tensions. As Stella Hall asked in IETM Helsinki, "When programming work from a situation in conflict, how do we know who to work with?" IETM Montréal 2007 18/32 In 2003, to prepare for a working group at IETM Birmingham, IETM commissioned research on "Culture in Conflict Situations, * or, as one of the researchers called it, complex emergencies: refugee camps created by wars, continuing war-like conditions, the aftermath of genocide, and extreme civil conflict. Although the document was about the self- evaluation of such projects, it raised other questions. Whose voice is authentic? Can a programmer be subjective? Or must they? Does objectivity exist? What about moral relativism? Does cultural reciprocity play a role in programming, or do we have to show all sides of a conflict? Do financial realities influence this type of programming? Do curatorial ethics exist? Who are we programming for?