Appendix XVIII, Plate 162_A History of a Commission, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 162_A History of a Commission, 2012
Appendix XVIII, Plate 162_A History of a Commission, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 173_A History of a Sponsor, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 173_A History of a Sponsor, 2012
Appendix XVIII, Plate 173_A History of a Sponsor, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 188_A History of a Biennale, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 188_A History of a Biennale, 2012
Appendix XVIII, Plate 188_A History of a Biennale, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 199_A History of a Nomination, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 199_A History of a Nomination, 2012
Appendix XVIII, Plate 199_A History of a Nomination, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 197_A History of a Group Show, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 197_A History of a Group Show, 2012
Appendix XVIII, Plate 197_A History of a Group Show, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 200_A History of a Condition, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 200_A History of a Condition, 2012
Appendix XVIII, Plate 200_A History of a Condition, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate, 2012
Appendix XVIII, Plate, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 239_A History of a Pleasure, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 239_A History of a Pleasure, 2012
Appendix XVIII, Plate 239_A History of a Pleasure, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 244_A History of a Host, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 244_A History of a Host, 2012
Appendix XVIII, Plate 244_A History of a Host, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 245_A History of an Advertisement, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 245_A History of an Advertisement, 2012
Appendix XVIII, Plate 245_A History of an Advertisement, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 236_A History of a Commitment, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 236_A History of a Commitment, 2012
Appendix XVIII, Plate 236_A History of a Commitment, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 249_A History of a Buying II, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 249_A History of a Buying II, 2012
Appendix XVIII, Plate 249_A History of a Buying II, 2012
archival inkjet print, 54,3 x 42 cm

The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the 100,000 plus who were killed; to the 200,000 plus who were wounded; to the 1,000,000 plus who were displaced; to the even more who were psychologically traumatized.

It is clear to me today that these wars also affected colors, lines, shapes and forms. Some of these are affected in a material way and, like burned books or razed monuments, are physically destroyed and lost forever; others, like looted treasure or politically compromised artworks, remain physically intact but are removed from view, possibly never to be seen again. And
yet other colors, lines, shapes and forms, sensing the forthcoming danger, deploy defensive measures: they hide, take refuge, hibernate, camouflage and/or dissimulate. I expected them to do so in the artworks of past artists. I thought their paintings and sculptures would be their most hospitable hosts. I was wrong. Instead, colors, lines, shapes and forms took refuge in unexpected places: they hid in Roman and Arabic letters and numbers; in circles, rectangles,
and squares; in yellow, blue and green. They dissimulated as fonts, covers, titles and indices; as the graphic lines and footnotes of books; they camouflaged themselves as letters, price lists, dissertations and catalogs; as diagrams and budgets. They hibernated not in but around artworks.

These are the colors, lines, shapes and forms that compose the plates displayed here.

Appendix XVIII, Plate 248_A History of Buying I, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 248_A History of Buying I, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 248_A History of Buying I, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 250_A History of a Contract, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 250_A History of a Contract, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 250_A History of a Contract, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 247_A History of a Wall, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 247_A History of a Wall, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 247_A History of a Wall, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 253_A History of a Local, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 253_A History of a Local, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 253_A History of a Local, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 076_A History of a Triennale, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 076_A History of a Triennale, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 076_A History of a Triennale, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 065_A History of a Sheikha, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 065_A History of a Sheikha, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 065_A History of a Sheikha, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 072_A History of an Anthropistorian, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 072_A History of an Anthropistorian, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 072_A History of an Anthropistorian, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 256_A History of a Curriculum, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 256_A History of a Curriculum, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 256_A History of a Curriculum, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 209_A History of a Monograph, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 209_A History of a Monograph, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 209_A History of a Monograph, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 063_A History of Regional, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 063_A History of Regional, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 063_A History of Regional, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 257_A History of Teaching, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 257_A History of Teaching, 2012, archival inkjet print, 54,3 x 42 cm
Appendix XVIII, Plate 257_A History of Teaching, 2012, archival inkjet print, 54,3 x 42 cm