Walid Raad


    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

  • Walid Raad and Walid Sadek

    I. This, too, must be repeated, even if it has become today the dominant abstraction disseminated in the Western and Arab popular press: Between July 12 and August 13, 2006, the so-called beginning and end of this most recent and ongoing Middle Eastern crisis, more than one thousand civilians died. Hundreds of soldiers died. Thousands of civilians were injured. Hundreds of thousands were displaced. Millions were scared. Countless were traumatized. Billions of dollars were lost. Billions of dollars were made.

    Lebanon yet again in the summer of ’06, echoing the spring of ’96, the summer of ’93,