While Goicolea's work from 1999-2000 found its genesis primarily in personal experiences and suburban nostalgia, the new pieces seem to derive their inspiration from the harsh realities of childhood existence in institutional and represive environments which are often parralleled with references to periods of war, pestilence and famine. Where the earlier photographs often pitted child against child in either literal or metaphoric terms, here the kids seem to be fighting both the elements and a generalized outside threat.

For example, in Blizzard (2001), a group of excited schoolboys is clambering up a high chain link fence during a snowstorm near an old Byzantine church. It is unclear whether the children are viewing a potential threat on the opposite side of the fence or are trying to escape an imminent one on their side. To add to the ambiguity of the situation, as one of the youngsters makes off with a bunch of potatoes,
a taller, older man is grasping another boy around the neck in a gesture that can be interpreted as one of either protection or restraint.

In Before Dawn (2001), five naked, sexually ambiguous blondes in a forest-like setting are standing around an identical group of youths lying in a circle in the snow. No adults are present and the night is cold and pitch-black. One may be hard put to decipher whether the slumbering group is being detained or guarded by the others, The identical gathering of nymph-like creatures creates an ambiguous situation in which the distinctions between preditor and prey, work and play, captivity and freedomb are blured.