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The unpublished travel photographs of Singapore‐born British artist Kim Lim (1936–97) reveal the diverse reference points for her sculptures. Thus far, critical literature on Lim's practice has not yet regarded the body of photographs taken by her across five decades, largely because her photography remained a private undertaking throughout her artistic career. As ephemera relating to her sculptural making, they are essential to the way that we encounter her practice today and reveal her own approach to 'minimalism' outside of its burgeoning developments in Euro‐American contexts. Bringing together a selection of travel and art photographs taken by Kim Lim, this essay asks what these works suggest is at stake for us now, and, specifically, the kinds of engagement that they enable with Lim's practice today. [ABSTRACT FROM AUTHOR]