Bernard Khoury


    FROM THE PERSPECTIVE of an art magazine published in New York, the conflict that erupted this summer between Lebanon and Israel is at once near and far—a geopolitical situation of enormous gravity, wrenchingly and unremittingly conveyed in the global press yet difficult to plumb, perhaps by virtue of that very mediation. Artforum has, of course, neither the expertise nor the hubris to pretend to offer any corrective or comprehensive analysis. But we could not simply ignore the crisis.

    As it happened, art historian and critic T. J. Demos had already begun work for us on a review of Modern Art

  • Bernard Khoury, BO18, 1998, Beirut.

    Bernard Khoury


    I recently spoke with a journalist who, commenting on how the situation may have changed in Beirut after this last war, concluded by saying, “Too bad that everything you accomplished in the past fifteen years has been destroyed.” I thought about this for a few seconds, and I realized how wrong he was: In fact, while things might seem different from a distance, you have to understand that what have been portrayed as the major reconstruction efforts during the past fifteen years—the small sector of the Beirut Central District, the very few institutional projects that were