The Palestinian Museum permanent collection

That is her Image and This is the Suicide of the Lover from the series Homage to Mahmoud Darwish #3. 

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

The Earth Poem from the series Homage to Mahmoud Darwish #2. 

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

That is her Image and This is the Suicide of the Lover from the series Homage to Mahmoud Darwish #1.

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

My work attempts to maintain the tension between the object of art as an aesthetic artefact and the object of art as the subject of conceptual and reflective observation. Thus, it testifies to the way these two worlds invade one another. I work with different techniques and styles simultaneously and work in the spirit of pluralism and humanism. I want my work to resemble a cleansing and uplifting ritual in a manner not a part of Western culture, thereby opening the viewer to diverse sources and influences.

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

Laila Shawa's photographic canvases, from which the lithograph series is inspired, are a testimony to the walls of Gaza during the last phase of the First Intifada. The series Walls of Gaza expresses the intimacy of the place and the transformation of the built environment that changed on a daily basis during that period. The walls became the surface on which the directions were announced because, during the Intifada, normal time was suspended, and each day was structured around strikes, confrontations, and commemorations.

Archaeology of Occupation is a 2015 body of work by artist Hazem Harb. In this collage series, Harb juxtaposes pre-Nakba (1948) photographs of Palestinian landscapes with concrete heavy masses on the horizon of some of the images. Among many things, Harb has been experimenting with the relationship between sculpture and painting; collage as a technique seems to be very fitting, not only in terms of formal experimentation but as a reference to modernist works of art.