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Kaelen Wilson-Goldie

Walid Raad in collaboration with Bernard Khoury, A Proposal for a Beirut Site Museum: Preface (2016–2026), 2017, wood, stone, paint. Installation view.

WALID RAAD’S LATEST EXHIBITION at the Sfeir-Semler Gallery in Beirut features three solid bodies of work spanning the artist’s two well-established long-term projects, the Atlas Group, 1989–2004, and Scratching on Things I Could Disavow, 2007–, and including material from the lesser-known but equally clever series “Sweet Talk: Commissions (Beirut),” 1987–, a repository of sorts for Raad’s creative, off-kilter thinking about photography in relation to the endless cycles of destruction and construction afflicting his hometown of Beirut. It is a perfectly interesting and accomplished show, even if audiences both local and international are by now abundantly familiar with his forms (dislodged walls, fractured artifacts, borrowed artworks) and concepts (that fiction can be more truthful than fact, that war has tangible and intangible consequences, that art history is often as violent

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