During the siege of Sarajevo, a resilient artistic community painted, sculpted, and printed their way through the conflict, leaving behind traces of their experiences in documentation dispersed across the city. At this time, discussions surrounding contrasting notions of civilization and barbarity, the West and the East, the city and the countryside became common staples in the vocabularies of those wishing to frame and understand the conflict. This book focuses primarily on deconstructing the diverse ways in which visual artists in particular interacted with such discourses: as producers, as subjects, and occasionally, as skeptics. It does so by analyzing how the city’s artistic community interacted with these ideas within their own circles, and how they impacted these changing vocabularies.