In every crisis situation, children are the greatest victims. . Physically weak, they are often the first to succumb to hunger, disease, and dehydration. . Innocent to the workings and failings of the world, they are unable to understand why there is danger, why there are people who want to hurt them, or why they must leave, perhaps quite suddenly, and abandon their schools, their friends, and their home. In this companion series to . Exodus, . Sebastiao . Salgado presents 90 portraits of the youngest exiles, migrants, and refugees. . His subjects are from different countries, victims to different crises, but they are all on the move, and all under the age of 15. . Through his extensive refugee reportage, what struck . Salgado about these boys and girls was not only the implicit innocence in their suffering but also their radiant reserves of energy and enthusiasm, even in the most miserable of circumstances. . From roadside refuges in . Angola and . Burundi to city slums in . Brazil and sprawling camps in . Lebanon and . Iraq, the children remained children: they were quick to laugh as much as to cry, they played soccer, splashed in dirty water, got up to mischief with friends, and were typically ecstatic at the prospect of being photographed.