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Yazan Khalili, Copy of a Copy of a Copy, 2017, posters, ink-jet print, shipping pallet. Installation view. Photo: Alexander Wolfe.

Yazan Khalili

Lawrie Shabibi

Yazan Khalili, Copy of a Copy of a Copy, 2017, posters, ink-jet print, shipping pallet. Installation view. Photo: Alexander Wolfe.

Yazan Khalili’s show “On the Other Side of the Law” analyzed life in Ramallah from the standpoint of legality, focusing on the often-absurd contortions to which Palestinians must submit their daily routines in order to accommodate international laws. Khalili connects questions of lawfulness to a discourse on the circulation of images, adapting a strand of recent critique to illustrate the larger political failings of a system ill-equipped for the realities of its subjects’ lives. 

The three-channel video installation Robbery in Area A, 2013–16, for example, highlights flaws in the West Bank’s tripartite mode of governance. The Oslo II Accord divided the territory into three zones, variously administered by the Palestinian Authority, the Israelis, and the two powers together. This means, for instance, that burglars can rob a bank in Area C, scuttle through to Area B, and then make

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