Palestinian children warm themselves by a fire on a stormy day at Shati (beach) refugee camp in Gaza City January 18, 2016. (Photo by Mohammed Salem/Reuters)

Refugee children play with a stuffed toy at a muddy makeshift camp at the Greek-Macedonian border, near the village of Idomeni, Greece March 15, 2016. (Photo by Alexandros Avramidis/Reuters)

Children sit on a bed in a flooded house following heavy rain in a village in Yemen's Red Sea province of Houdieda April 15, 2016. (Photo by Abduljabbar Zeyad/Reuters)

Internally displaced Syrian children who fled Raqqa city stand near their tent in Ras al-Ain province, Syria January 22, 2017. (Photo by Rodi Said/Reuters)

In this Sunday, March 11, 2017 photo, children fight in a boxing ring in Chitungwiza, Zimbabwe. Zimbabwean boys as young as 10 hurry every weekend to a boxing ring whose nickname, Wafa Wafa, in the local Shona language suggests that whoever enters will be lucky to come out alive. (Photo by Tsvangirayi Mukwazhi/AP Photo)

Indian children work nearby to their parents at a construction project in front of the Jawaharlal Nehru Stadium on January 30, 2010 in New Delhi, India. The children accompany their parents to the work site, where if they are prepared to work, they will receive money for bread an milk and be provided with dinner by the contractor. The sheer scale of the project has drawn an enormous population of migrant workers from all over India.

Erik Ravelo goes straight for the jugular in his series, Los Intocables (The Untouchables). Depicting children in one the most vulnerable poses of all time, Ravelo attempts to speak for those who cannot properly articulate their pain. The sick, twisted games that adults play can come at a cost to future generations and Ravelo’s series gives a voice to those children who get caught in the crossfire.

Yawalapiti children play during the preparations for the celebration of “quarup”, a ritual held to honor in death a person of great importance to them, in the Xingu National Park, Mato Grosso State, May 7, 2012. (Photo by Ueslei Marcelino/Reuters)