At the start of the twenty-first century artists and art works are increasingly mobile and dispersed within global networks and cultural flows. This essay considers the career of an artist (Gonkar Gyatso) who has travelled from his homeland (in Tibet) via a key centre for Tibetan exiles (in India) to his current location in London (where he successfully sought asylum). In each of these physical domains he and his work have been reconfigured, inspiring new ways of depicting the land he vacated: Tibet. A new type of analysis is required in order to chart such transnational dimensions in contemporary art, one which acknowledges that artists are subject to influences well beyond the places they physically inhabit and which gives due prominence to imaginative territories. However, this case study also notes the persistence of ‘location’ as a determining factor in interpretation and reception.