When Journey of Art for Peace was concluded in Geneva in 1993, so too was Kanso's tenure as a traveling artist. Save for a brief residency in Seoul between 1993 and 1994, marriage and family life drew him back to Atlanta, where he continued to sketch and paint—albeit at a much smaller scale—until his passing in 2019. The majority of Kanso's later works—several hundred of them—have never been exhibited. Still, diary entries and the beginnings of an autobiography emphasize the prospect of lasting peace as something toward which Kanso continued to work through his art despite his return to Atlanta. Endlessly debated and analyzed—philosophically, economically, socially, systemically, and otherwise—the very possibility of peace has occupied scientists and creatives alike for generations. And although abstract, and not particularly quantifiable, peace was a metric on which Kanso created art for decades simply because he believed it to be the natural, inner order of things. As Hernán López-Garay surmises in his 1997 essay “On the Possibility of World Peace,” if it is ever to be established, it will likely be realized “against men's own will.” Quoting Kant, he emphasizes the power structures that be as eventually having to answer to “no more and no less than nature, the great artist … through which men's own antagonisms will, eventually, give rise to harmony.”

Ushering humanity toward that fundamental promise required Kanso to revisit how his work stayed in circulation upon his return to Atlanta. Having foregone the commercial arrangements and relations necessary to keep his art on show independent of his own efforts, Kanso turned to selfpublishing as a more sustainable way of seeing his art out in the world, on his own terms.