Beirut’s Sursock Museum in the 1980s: Inclusion and Exclusion in a Decade of Conflict

This article examines the curatorial approaches and exhibition practices of Beirut’s Sursock Museum during the 1980s, a decade marked by civil war and socio-political fragmentation. Following a seven-year closure, the museum reopened in 1982 and resumed a limited but symbolically charged programme. The study explores how the institution navigated inclusion, representation, and legitimacy in this fraught period, focusing on logistical constraints in a divided city, the formalist strategies of group exhibitions—especially the Salons d’Automne—and shifting criteria for artistic recognition. Drawing on archival material, press coverage, and curatorial documents, it positions the museum’s wartime programming as a case of institutional resilience, symbolic manoeuvring, and cultural gatekeeping. Particular attention is given to the perspectives of excluded or self-excluded artists, such as Mahmoud Amhaz, Mohammed al-Kaïssi, and RoseVart, whose critiques complicate the museum’s claims to neutrality. By interrogating jury composition and the political and aesthetic implications of their choices, the article contributes to debates on institutional critique, historiographic curating, and canon formation during conflict, reframing the 1980s as a contested terrain of curatorial agency and cultural significance rather than a lost wartime decade.