Last week, the photographer and filmmaker Mikhail Galustov took The New Yorker’s Instagram feed with him around Kabul, Afghanistan, where he is based. (In October, we published a slide show of Galustov’s Afghan faces.) “I wanted to focus on the side of Kabul that rarely makes it on the pages of news outlets,” he told me. “It’s a very special moment in the life of the city; there is an enormous development effort that many find controversial. The upcoming elections and withdrawal of foreign troops make the future look uncertain. Twelve years of intensive foreign investment have created shopping malls, districts of new housing, paved roads, jobs, and a group of nouveau riche that benefitted from the international attention.” Click-through for a selection of favorites from the feed: http://nyr.kr/UxQJuI

This week, continuing with our Instagram Takeover series, the Afghanistan-based photographer Mikhail Galustov is posting from Kabul. His first photo, above, shows teen-agers hanging out on the wreckage of a Soviet personnel carrier on top of Wazir Akbar Khan hill, overlooking Kabul. Follow @newyorkermag on Instagram for updates. 

Since 1973, seven out of the past nine Afghan Presidents have taken power in Kabul in non-peaceful ways. Steve Coll talks with former Afghan Defense Minister and leader of a coup against his President, Shahnawaz Tanai, and discovers “some of the texture— the human quality— of an attempted Afghan coup d’etat”: http://nyr.kr/TuTBLg

Photograph by Robert Nickelsberg/Time Life Pictures/Getty.

How does one photograph a story that has not yet occurred? How does one evoke a sense of what might happen, or of what could?

This was the challenge for the Afghan-Swiss photographer Zalmaï: to capture the sense of foreboding that, as Dexter Filkins writes in this week’s issue, permeates Afghanistan as American troops prepare to withdraw. “People forget that almost thirty million people live in Afghanistan,” Zalmaï told me from Kabul. “Yet twenty thousand Taliban can completely destroy these thirty million lives. How Afghanistan will avoid falling into civil war again, I just don’t know.”

Zalmaï’s work is currently on display in Kabul as part of Documenta, an internationally renowned exhibition series that occurs every five years. Click-through for a slideshow of his images: http://nyr.kr/KOkx0j