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Our Collection
Abdelwahab Babiker Ali, Untitled, 2000, Sudan
Framed Print, 10"x8"
In this painting, Abdelwahab Babiker Ali depicts his experiences in Sudan's Kober Prison, where he was imprisoned without questioning or trial. The painting captures the aimless waiting that oftentimes takes place in these prisons.
In this painting, Abdelwahab Babiker Ali depicts his experiences in Sudan's Kober Prison, where he was imprisoned without questioning or trial. The painting captures the aimless waiting that oftentimes takes place in these prisons.
Hafez Omar, Family Visit of Detainees, 2011, Palestine
Framed Print, 17"x12"
The International Committee of the Red Cross facilitates family visits for Palestinian detainees held in Israeli prisons. However, after making the trip, prison authorities can arbitrarily deny families from visiting their loved ones. An ICRC visitation card overlays an image of the artist's detained brother. Below in red is a quote from their mother in Arabic that reads “Today 4/24 is Saad’s birthday. I don’t think he is happy, but I have hope that we will all celebrate together soon.” It is signed “Your Mother.” A stamp across the visitation form reads in Arabic and Hebrew “Visitation Denied.”
The International Committee of the Red Cross facilitates family visits for Palestinian detainees held in Israeli prisons. However, after making the trip, prison authorities can arbitrarily deny families from visiting their loved ones. An ICRC visitation card overlays an image of the artist's detained brother. Below in red is a quote from their mother in Arabic that reads “Today 4/24 is Saad’s birthday. I don’t think he is happy, but I have hope that we will all celebrate together soon.” It is signed “Your Mother.” A stamp across the visitation form reads in Arabic and Hebrew “Visitation Denied.”
Hafez Omar, Oh Mother the Soldier is Between You and Me, 2014, Palestine
Framed Print, 17"x12"
A mother holds a portrait of her imprisoned son. It is common practice for family members engaged in funeral processions, protests, or sit-ins to carry photos of loved ones who have been killed, arrested, or forcibly disappeared. Written at the bottom of the illustration—and separated by a strand of barbed wire—is the English title in Arabic. Appearing on the man’s prison uniform is the Hebrew word "SHABAS"—the acronym for the Israeli Prison Service.
A mother holds a portrait of her imprisoned son. It is common practice for family members engaged in funeral processions, protests, or sit-ins to carry photos of loved ones who have been killed, arrested, or forcibly disappeared. Written at the bottom of the illustration—and separated by a strand of barbed wire—is the English title in Arabic. Appearing on the man’s prison uniform is the Hebrew word "SHABAS"—the acronym for the Israeli Prison Service.
Haydar Yasiry, Execution, 2025, Iraq
Three Panel Canvas, 20”x16”, 20”x20”, 20”x16”
Ilham Badreddine Mahfouz, Between the Heavens and Earth (colored), Syria
Sculpture, Seven Pieces, Various Sizes
Ilham Badreddine Mahfouz, Between the Heavens and Earth, Syria
Sculpture, 23 Pieces, Various Sizes
Ilham Badreddine Mahfouz, Untitled, Syria
Sculpture, Two Pieces, 10"x3"x3" and 6"x6"x4"
Ilham Badreddine Mahfouz, Children, Syria
Canvas, Two Panels, 12"x12" Each
Ilham Badreddine Mahfouz, Fear Blood for Oil, 2006, Iraq
Mixed Media, 5"x7"
Ilham Badreddine Mahfouz, Fear of Tragedy of War, 2006, Iraq
Mixed Media, 8"x12"
Ilham Badreddine Mahfouz, For Life, Syria
Sculpture, 1.5"x6"x1.5"
Ilham Badreddine Mahfouz, Freedom, Syria
Sculpture, 1.5"x7"x1"
Ilham Badreddine Mahfouz, Freedom, Syria, 3"x12"x2.5"
Sculpture, 3"x12"x2.5"
Ilham Badreddine Mahfouz, Khan El-Sheeh, Syria
Canvas, 16"x20"
Ilham Badreddine Mahfouz, Loss of Humanity, Syria
Canvas, 36”x48”
Ilham Badreddine Mahfouz, Refugees, Syria, 2"x12"x1.5"
Sculpture, 2"x12"x1.5"
Ilham Badreddine Mahfouz, Untitled, Syria
Sculpture, 2.5"x17"x3"
Ilham Badreddine Mahfouz, Untitled, Syria
Canvas, 12"x12"
Ilham Badreddine Mahfouz, Untitled, Syria
Sculpture, Various Sizes
Marc Nelson, Caesar, 2023, Syria, United States
Canvas, 36”x48”
This collage painting is a recreation of images
from the “Caesar photos,” which are thousands of high-definition photos of corpses in Syrian
detention facilities. The photos were taken between May 2011 and August 2013 by a Syrian military police defector known by the pseudonym “Caesar.” The photos have been used as
key evidence in investigations into human rights abuses, including systemic detention and
torture, used by the former Syrian regime. Caesar, in his staple blue jacket used to hide his identity, is depicted in the foreground.
This collage painting is a recreation of images
from the “Caesar photos,” which are thousands of high-definition photos of corpses in Syrian
detention facilities. The photos were taken between May 2011 and August 2013 by a Syrian military police defector known by the pseudonym “Caesar.” The photos have been used as
key evidence in investigations into human rights abuses, including systemic detention and
torture, used by the former Syrian regime. Caesar, in his staple blue jacket used to hide his identity, is depicted in the foreground.
Marc Nelson, Majd Kamalmaz, 2024, Syria, United States
Framed Print, 18”x13”
Majd Kamalmaz is a Syrian-American psychologist who treated refugees from Syria. In February 2017, he traveled to Syria to visit an elderly family member in Damascus. During this trip, he was also looking to establish a clinic to aid those who have been traumatized by the Syrian civil war. A day after arriving, Kamalmaz was stopped at a Syrian Government checkpoint in Mezzeh, a suburb of Damascus, and subsequently disappeared. His family began a campaign to urge the US government to intervene on his behalf and determine his whereabouts. In this painting Majd’s daughter holds his photo.
Majd Kamalmaz is a Syrian-American psychologist who treated refugees from Syria. In February 2017, he traveled to Syria to visit an elderly family member in Damascus. During this trip, he was also looking to establish a clinic to aid those who have been traumatized by the Syrian civil war. A day after arriving, Kamalmaz was stopped at a Syrian Government checkpoint in Mezzeh, a suburb of Damascus, and subsequently disappeared. His family began a campaign to urge the US government to intervene on his behalf and determine his whereabouts. In this painting Majd’s daughter holds his photo.
Marc Nelson, Shabah, 2023, Syria, United States
Framed, 23"x13"
Mauresque Chez Elle, J. Madon, Untitled, Early 20th Century, Algeria
Framed Postcard, 3.5"x5.5"
Captioned "Moorish women at home," the photograph depicts a woman sitting behind a barred window, clutching the metal rungs with both hands. The image was circulated as a colonial postcard picture—one of dozens produced throughout the first three decades of the twentieth century by French colonial administrators seeking to 'portray' Algeria to French viewers. The photographs were staged in a manner designed to persuade citizens in France that Algeria, and Algerian women in particular, were imprisoned in their homes, and were better off under French colonial rule.
Captioned "Moorish women at home," the photograph depicts a woman sitting behind a barred window, clutching the metal rungs with both hands. The image was circulated as a colonial postcard picture—one of dozens produced throughout the first three decades of the twentieth century by French colonial administrators seeking to 'portray' Algeria to French viewers. The photographs were staged in a manner designed to persuade citizens in France that Algeria, and Algerian women in particular, were imprisoned in their homes, and were better off under French colonial rule.
Mauresque Chez Elle, J. Madon, Untitled, Early 20th Century, Algeria
Framed Postcard, 3.5"x5.5"
Captioned "Moorish women at home," the photograph depicts a woman sitting behind a barred window, clutching the metal rungs with both hands. The image was circulated as a colonial postcard picture—one of dozens produced throughout the first three decades of the twentieth century by French colonial administrators seeking to 'portray' Algeria to French viewers. The photographs were staged in a manner designed to persuade citizens in France that Algeria, and Algerian women in particular, were imprisoned in their homes, and were better off under French colonial rule.
Captioned "Moorish women at home," the photograph depicts a woman sitting behind a barred window, clutching the metal rungs with both hands. The image was circulated as a colonial postcard picture—one of dozens produced throughout the first three decades of the twentieth century by French colonial administrators seeking to 'portray' Algeria to French viewers. The photographs were staged in a manner designed to persuade citizens in France that Algeria, and Algerian women in particular, were imprisoned in their homes, and were better off under French colonial rule.
Mohammad Fradi, Untitled, 1990/2010 recreated 2024, Iraq
Framed Sketch, 24"x18"
Two figures kneel facing away from the viewer with their hands bound behind their backs.
Two figures kneel facing away from the viewer with their hands bound behind their backs.
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