This postcard triggered our work. We did not study art or cinema; we began our artistic practice in the early 1990s in response to the violence generated by the Lebanese civil war, and the way it officially ended. It seemed to us that the war had been put between brackets, considered as an accident, and that things were not really resolved. The fact that these postcards reappeared on the stands of stationery shops as if nothing had happened, although the buildings they represented had been defaced or destroyed by the bombing, prompted us to reject the dominant and nostalgic image that annihilated our actual experience. That was the beginning of our Wonder Beirut project (1997–2006) and our production of postcards of war. Burning those images to make them correspond to our present life may be considered an iconoclastic gesture, or rather, as Bruno Latour described it, an ‘iconoclash’, but it’s more about exploring the way history is being written and searching for images and representations we can believe in.