In the 1970s, Sultan pioneered conceptual photography using found archival images. Still conceptually rooted, his subsequent series intentionally slip between documentary and staged tableaux, injected with autobiographical elements. For “Homeland” (2006–09), Sultan hired and meticulously posed day laborers on the outer limits of California suburbs, including those outside of San Francisco. The images explore both the subjects’ outsider statuses and the liminal nature of these borderlands. Meanwhile, “San Francisco Society” (2007), which first accompanied a W magazine article, documents the families of San Francisco’s ultra-monied Gold Coast neighborhood.