The House Stands Tall

This article examines the curatorial activities of Janine Rubeiz during the Lebanese Civil War , highlighting her efforts to sustain cultural production amid crisis. This serves as an entry point in the analysis of Rubeiz’s use of art as a medium for political and social engagement. Drawing on concepts such as art agency and exhibitionary sociality, the article situates the two large-scale exhibitions Liban 78 and Beirut Tabaan and the gallery she opened at her own flat as dynamic, relational spaces that transcended traditional art displays to assume a deeper role. These initiatives, while heralding the social importance of culture in times of crisis, provided artists and audiences with opportunities to confront and renegotiate understandings of belonging, community, and the memory of the war . Ultimately, the essay challenges the assumption that periods of conflict disallow artistic and intellectual endeavours. In doing so, it contributes to the analysis of art’s presence and role during the Lebanese Civil War , opening research terrain previously obscured by the focus on postwar artistic production and critique.