By analyzing the similarities and differences between the art and art practice of Neshat and Ghazel, this article seeks to examine the way that their art simultaneously deconstructs stereotypes of Iran while offering more encompassing representations. In "un-saying" their life stories, these artists struggle not to "be said" by others. Through use of the camera, they develop a "telling-self," not merely telling "about" themselves. This study explores the ambivalent consciousness of Neshat and Ghazel and the strategies that they use to negotiate and articulate their place between cultures. It holds considerable relevance for understanding the profound negotiations that occur today in the classrooms, streets, and homes of the increasingly diverse United States. By including the art and lives of a particular marginalized group within the classroom, included are not only many thousands of young Iranian-Americans but, by extension, also other immigrants who are trying to find their place and value within American history. By analyzing the ways in which hybrid Iranian artists have used the camera as a critical practice to negotiate their identity and place between cultures, students of all backgrounds would be encouraged to use the camera as a means of challenging existing stereotypes while making and distributing counter-images that ring true to their lives. (Contains 13 figures and 40 endnotes.)