evidence: Today, according to North Korean textbooks and monographs, the first and the only center of Old Chosŏn was located in Pyongyang and its surroundings; in its initial stage, the borders of Old Chosŏn extended from the Yalu River in the North to the Han River in the South; and during the period of its greatest power, Old Chosŏn’s territory included the Korean Peninsula and Liaodong Peninsula, as well as part of southern Manchuria. [...] This paper probes the visualization of the spaces of transnational militarism in South Korea—the Demilitarized Zone (DMZ) and expropriated territories for United States Forces Korea—that are, for most Koreans, imagined spaces beyond the sovereignty of South Korea in the name of peace keeping. To that end, I explore the unexpected paths of repetition via photographic representation: looking at the ways in which selected art and photography projects undo the national rhetoric of futurity prescribed in relentless adherence to, while seemingly oscillating between, anti-communist ideology and neoliberal desire; and considering how such projects create novel paths for repetition to take. The paper examines Jung Yeondoo’s performative photography project, DMZ Theater Series-Dora Theater (2019), and the reverberations in and of landscape photographs by Kang Yong Suk, Maehyangni P’unggyŏng (1999), depicting lands - and lives -expropriated for military purposes. Jung’s collaborative, multimedia, and site-specific project problematizes the site’s historically militarized conditions and the ways in which the site has always required the visitor to perform their ideological position when facing the DMZ.