Migration is not a new phenomenon, and studies indicate that it began in the earliest periods of human history. In fact, the process of migration is as old as human civilization. Migration has been one of the ways that has helped humans adapt to their environment. However, today migration is one of the essential features of the contemporary world. Global markets, the creation of international networks, and the expansion of technology have all contributed to the increase in the movement of specialists and skilled workers, investors and their families, students, and tourists. Functionalists believe that when balance within a system is disrupted, migration becomes a necessary action to reestablish equilibrium. Although globalization is accompanied by major changes in markets, global production and trade, and telecommunications, it also affects people’s personal and private lives in various ways. When the forces of globalization enter local environments, homes, and communities through impersonal channels such as the media and popular culture, personal lives inevitably undergo transformation. Since art is closely linked and connected to social issues, this topic has always drawn the attention of contemporary artists. This article seeks to address the question of how contemporary artists have depicted the issue of migration—particularly migrant artists living in other countries, who are constantly caught between the identities of their homeland and their new place of residence. The issue of migration discourse and the ways in which this concept is represented in art is a topic that has not yet been seriously explored. The present study seeks to examine migration as an omnipresent element in the Iranian mindset and to investigate how artists engage with the concept and phenomenon of migration. Although numerous articles on migration have been written within the field of sociology, no article has yet been produced that introduces and analyzes the content of works created in contemporary art—an undertaking that this research aims to articulate. In this context, we encounter works created both by artists residing in the country and by migrant artists. Studying and comparing works that address the concept of migration, as well as examining how these artists confront and engage with the concept and issue of migration, are among the objectives of this research. This study analyzes the content of works that were either created on the theme of migration or produced by contemporary migrant artists, who have consistently faced the challenges of diaspora in some form. In fact, the main aim of this study is to explore how artists approach and respond to the concept of migration. These artists attempt to present experienced situations and realities within a broader temporal and spatial framework. Analyzing both explicit and implicit signs reveals that, although factors such as industrialization, globalization, and the pursuit of a better life are major reasons for migration, people are mostly depicted as solitary, melancholic, and uncertain. In contrast, migrant artists portray this fragmentation through the merging of identities, the struggle to preserve their original identity, and the effort to connect with a new one. This research is qualitative, employing a descriptive-analytical method. The photographs and paintings discussed in this article were selected through purposive sampling based on the research question. Information related to the conceptual framework was gathered through library research, while data on the photographs and artworks were collected from sources such as artists’ and galleries’ websites and, in some cases, the personal archives of the artists. The case studies include Behnam Sedighi, Mehran Mohajer, Vahid Khakdan, Mitra Tabrizian, Sara Rahbar, Shahpour Pouyan, Soudi Sharifi, and Mahmoud Sabzi. The review of these works reveals that some artists, such as Vahid Khakdan, emphasize the nostalgic nature of objects from the past, conveying a sense of mourning and confrontation with the sorrow of estrangement without integration into the new environment. Others, like the migrant photographer Behnam Sedighi, mostly depict people as hesitant and anxious about the challenging path ahead, while the figures in Mitra Tabrizian’s photographs appear solitary and melancholic. In contrast, migrant artists such as Soudi Sharifi, Sara Rahbar, Shahpour Pouyan, and Mahmoud Sabzi incorporate cultural symbols, like the flag—either as a national emblem or as a cultural symbol—in their artworks, and by challenging these symbols, they seek a way to reconcile the identities of their homeland and their new environment.