The war in Vietnam is often viewed by critics as a watershed in visual history, not only because it marked television's coming of age but also because it ushered in a new era of war photography. Historians base these claims, however, on the visual record produced by the Western press. Despite the vastness of this record, it neglects the contributions of Vietnamese photographers, while attesting predominately to American experiences of the war. What counter-histories might emerge if we attend to Vietnamese experiences and perspectives on this war? The first scholarly book to focus on works by Vietnamese photographers, Warring Visions reveals how Vietnamese communities deployed these works to secure the moral resolve, political allegiance, and cultural memory of viewers.