Since the so-called “Migration Crisis” of 2015, a dominant discourse in heritage studies has focused on the preservation of the at-risk and destroyed built heritage of the Middle East. Proposing an alternative to this popular place- and material-based approach, this research explores socially engaged art as a method to highlight new, people-based forms of migratory heritage in Europe. Specifically, this paper explores the personal and intangible heritage accumulated by migrants and refugees within the context of three cultural projects: bi’bak, an artists-run space in Berlin that facilitates programming about migration in Germany with a focus on Turkish communities; Making Waves, a boat-making workshop for newcomers, predominantly of Syrian origin, also based in Berlin; and Pages, an Arabic-language bookshop, café, and de facto cultural center that facilitates refugee-led forms of integration, formerly located in Istanbul and most recently in the Netherlands. These three case studies provide distinct examples of artistic/cultural praxis, forms of (non/)participation and collaboration, and illustrate how and by whom Middle Eastern diasporic culture is represented and engaged with in Europe. The fieldwork for this research was conducted in 2017 and included observation and participation as well as semi-structured interviews with project initiators and participants. Central to the interpretation and framing of each case study were the interviews with participants as the conversations supported how “people on the move” understand their own personal heritage and how heritage evolves during the process of migration. With a view towards proposing creative practice, collaboration, and cultural exchange as forms of heritage preservation, this paper aims to contribute to future discussions on integration, diversity, cultural identity, heritage as a human right, discrete perceptions of personal heritage versus national/ethnic categories of heritage, and new approaches to community engagement within heritage studies. Particularly regarding work that engages with minority, refugee, and diasporic groups and is labeled “participatory,” “community-based,” or “socially engaged,” scholars need to be critical in their research methods—going beyond the declared intent of the artist and the public presentation of the projects to understand how and when the participants’ voices are engaged with and how and by whom they are being (re)presented. In the sociopolitically-charged landscape of Europe since 2015, it is urgent that we recognize the role of power, agency, and ethics within migration-based art practices as well as within our own art historical research on these newly formed, migratory communities.