In The City Lost and Found, Greg Foster-Rice explores how the Master Plans of New York, Chicago, and Los Angeles changed in the second half of the 1960s, from an earlier model that focused exclusively on demographic data and technical infrastructure questions, to a later emphasis on quality-of-life issues. The Master Plan of New York, in particular, tried to highlight the city as it existed, rather than projecting an idealized vision of the city as it should be (i.e. what it would become once the plan was put into place). Even with this new emphasis, the purportedly more authentic experience of the city was captured only through photographic fragments. The serial but disconnected nature of the photographs implied that they were objective points of data, appropriate to the genre of a technocratic manual. In reality, they presented a highly choreographed vision of the city: if the images told any story at all, it was the story of the photographers who curated these arbitrary fragments into a simulacrum of ‘real’ everyday urban life. In this context, we ask the question: how can we convey historical, affective, and sensory experiences of the city in visible form on a map? In what ways could we move beyond the top-down, god’s-eye view privileged by city-planners and politicians, and instead represent the richer messier, more human experience on the ground? What kinds of aesthetic tools can we use to go beyond the illusory reality of photography, to capture a more ‘suggestive’ representation of experience?