Challenging a narrative often implied as an exclusively masculine performance of national sacrifice, Leila Nseir’s The Marytr (The Nation) depicts the martyrdom of a woman, and displays the mourning of her death. Pushing back against the distinctly male image of the fedayi freedom fighter that has typically dominated the iconography of liberationist struggle in the Arab world, the subject is held up by her grieving female companions, as crying children reach up to touch her. Likely a product of Nseir’s visit to south Lebanon 1976, the work places a somber spotlight on the female plight in war.