This chapter examinesGhobadlou, Shahrzad the intermedial dynamics within Shirin Neshat’s exhibits, from Women of Allah (1997) to The Fury (2023), to explore how the interplay of photography, calligraphy, moving images, and exhibition space relies on affective intermediality to explore the state of liminality of female characters. By analyzing off-screen viewing spaces, this chapter argues that Neshat’s exhibit format fosters an affective immediacy between viewers and her artwork. Drawing on Ágnes Pethő’s definition of intermediality, Vivian Sobchack’s concept of a “fleshly dialogue,” and Luce Irigaray’s concept of “breathing” with the artwork, this chapter demonstrates that the affective connection between viewer, artwork, and viewing space renders the liminal experience of exile and migration sensible to a diverse audience. The chapter further elucidates how extra-diegetic viewing spaces, when focusing on the affective quality of intermediality, play a crucial role in enhancing meaning-making and the viewer’s emotional engagement with the narrative. Neshat’s work, ultimately, utilizes intermediality to bridge cultural divides and evoke emotional resonance.