A tow car for the children's “Grand Prix” races which take place in a parking lot in Livonia, Michigan a suburb of Detroit, circa 1955. (Photo by Three Lions/Getty Images)

A Palestinian man carries a lion cub as he shows it to children in Rafah refugee camp in the southern Gaza Strip on December 4, 2019. (Photo by Ibraheem Abu Mustafa/Reuters)

Children are seen on a bike after Muslims in Nigeria perform Eid prayer following the global outbreak of coronavirus disease (COVID-19) in Nasarawa on May 24, 2020. (Photo by Afolabi Sotunde/Reuters)

Children stand next to an image of a Chinese space suit displayed on a screen, at the InnoTech Expo in Hong Kong, China on December 13, 2022. (Photo by Tyrone Siu/Reuters)

Palestinian men perform fire breathing on the beach as an entertainment for children during the summer vacation in Gaza City on August 1, 2019. (Photo by Mohammed Abed/AFP Photo)

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)

Australian artist Polixeni Papapetrou trends the line between fantasy/theatre, mythology/reality, archetype/play, male/female, child/adult and animal/human. As with all her work the series The Dreamkeepers tells a story that includes her autobiographical relationship with her children, but it also says a lot more about the condition of childhood - its place in our culture and how we react to images of children in photography.