[3] Between 2004 and 2010, he worked with long-time collaborator Liz Lock, a photographer from Toronto, Canada, on documentary projects in and around London and the North West of England and on portrait and feature commissions for a number of British broadsheets including The Independent and Financial Times.
[14] Reflecting on the series in the British Journal of Photography, Paul Wombell wrote, "Mishka Henner has used freely available aerial imagery from satellite systems such as Google Earth for many of his projects.
"[15] Reviewing an installation of Fifty-One US Military Outposts at the Carroll/Fletcher Gallery in London, George Vasey wrote, "We hover over the image, inverting the surveillance-like gaze – the watched become observers.
The project shifts the public documentarism articulated by Frank and Lange towards the unseen spaces of private finance and security [...] The ability to navigate and edit data provides new conditions of political accountability in an era of information as capital.
"[16] In 2011, Henner released No Man’s Land, a collection of photographs apparently showing sex workers around Spain and Italy, as captured by Google's Street View cameras and published as a print-on-demand book.
[17][18][19] American journalist and author Violet Blue described the work as haunting “snapshots of the unseen, and yes, the unheard”[20] whilst Pulitzer Prize nominated photojournalist Alan Chin (photographer) described Henner as “a conceptual photographer-artist masturbator.”[21] Writing in Prison Photography in August 2011, Pete Brook wrote, "for traditionalists, No Man’s Land is a long way from the spirit of documentary photography [...] On Henner’s virtual tour, we cruise, at 50mph.
"[22] In a separate post, Jörg Colberg added, “Henner essentially is producing visual statistics, with the women in question being reduced to ciphers, to small, often blurred, shapes that come with a label.
[26] Writing about the shortlist for 1000 Words Photography Magazine, Brad Feuerhelm wrote, “No Man’s Land would be a convincingly clever interpretation of lucid geography, technocracy (albeit with lightweight theoretical drive) if I had not seen very similar modes of dissemination before.
Not only is it derivative but the project completes a vicious circle of unpleasant attitudes of human currency and a new attempt to denigrate women to that of commerce even further.”[27] Despite these negative reviews, No Man's Land was shortlisted for the prestigious Deutsche Börse Photography Prize in 2013 and several writers offered more positive insights.
Reviewing volume I of No Man’s Land for Source magazine, Daniel Jewsbury wrote: In a lengthy article published in the online journal Circulation Exchange in 2015, Kate Albers reflected that the series “uniquely addresses the uncomfortable collision of public and private space and experience that now characterizes much of our collective lived experience, and wades, too, into the grim realities of the commerce and commodity of physical bodies in the 21st century.”[29] Henner created further controversy in early 2012 with the publication of Less Américains.
In an interview with the New York Times, he describes the erasure of Frank's photobook as an homage to Robert Rauschenberg who similarly created controversy in 1953 with his work Erased de Kooning Drawing.