Hind Soufi’s installation serves as a poignant voice for the victims of wars, violence, persecution, and social injustice. It serves as a testimony to the plight of displaced individuals and refugees, capturing the essence of the human condition in its most harrowing form.

Mario Saba identified himself as an experimental artist who has explored various techniques and artistic approaches, including painting, photography, and mixed-media installations. Through his art, he aims to express the memories of the Lebanese civil war during the post-conflict period. His works embody the challenges of life and the lingering effects of war, fearlessly questioning our assumptions and leading us away from the ordinary. As a result, his art is both unsettling and captivating.

Ghassan Christo Saba's artwork draws inspiration from Tripoli's history and artistic heritage. He taps into the rich historical background of his hometown for his artistic creations. The scenes depicted in his artwork are influenced by Tripoli's past.

In addition to exhibiting her paintings, Nada Sehnaoui has created numerous large-scale public installations and site-specific installations in Lebanon and around the world. Her installations in the public space in Lebanon, such as Fractions of Memory (2003), Waynoun (where are they?) (2006), and Haven't Fifteen Years of Hiding in the Toilets Been Enough? (2008), have received recognition and acclaim.

Shireen Taweel is an installation and multimedia artist based between Beirut and Sydney. Taweel's work exploresthe experience of being a Lebanese Australian, living between two cultures. She explores themes related to socially, politically, and religiously constructed public spaces and chooses copper as the core element in her artwork.

Karin Timmermans' art is enriched by life and influenced by new ideas and impressions, architecture, simplicity, and complexity. She canalizes these elements and translates them into feelings, expressed through plastic and bronze sculptures.

Anita Toutikian explores unconventional ways to challenge habitual thought patterns and establish new perspectives on art and life. For her, art serves as a means of resistance against mental manipulation and cognitive oppression.

Nadine Zahreddine highlights how personal data has become readily accessible, as anyone can obtain personal information by simply having someone's license plate number. The installation also raises concerns about the increasing number of video surveillance cameras and facial recognition technology, and the ethical dilemmas surrounding the use of data captured by these systems.

Ghassan Zard creates a bestiary of forms, interpreting the anatomy of reality to recreate a personal mythology. Beyond the playful shape, there is something trying to emerge, as if containing a body in the process of being formed, an implicit entity that is incredibly present, waiting within each piece.