Walid Sadek rarely exhibits his work—he has had fewer than a handful of shows in the past two decades—and has resisted gallery representation. Possibly the most enigmatic artist of the so-called postwar generation, Sadek has centered his largely text-based practice on theorizations of the protractedness of the Lebanese Civil War (1975–90) after its declared end, and on a pursuit of new temporalities that could break with the presentist logic of what he calls “normative living.” In his rather austere Conceptual artwork, whose titles are often borrowed from his essays—“Place at Last” (2007), “