Within the same space, The Fold, 2018, explores specific phenomena that captured Zaatari’s interest in photographs from the collection of the Arab Image Foundation (AIF). The Fold presents a model for interpreting photographs, thus providing keys to their reconfiguration. Most surprising is the photograph form Beirut in the 1920s - 1930s showing a reclining nude woman, originally attributed to the late Kamal Haddad, and taken to be turned into a painting. It’s transformed by Zaatari into a bas-relief in marble. Probably never meant to be displayed as a photograph, given social constraints in Lebanon at that time, the fact that it was printed as a transparency makes it, for the artist, a middle step in an artistic practice and not an end itself.