I begin with some questions: how have the theories and methods which subtend design research been changed by their migration from academy to industry? How have they adapted to their new commercial culture? What languages and customs have they had to acquire to fit in? To address these questions, I consider a facet of design research which I think most problematically bears the marks of this passage: how we choose who we will study. I go on to think about both the causes and implications of exclusions so often resident in this choice. The ideal that drives my analysis forward is that design researchers are in the business of designing not products for “users,” but landscapes of possibility for public life. A final suggestion, inspired by my recent work on Internet-based personal photography and here briefly sketched, is that design researchers take the publicness of our work more seriously—that we design for it.