The remnant of this painting is the only existing relic from Karam’s 1990 performance and installation, the Temple of Obelisks. Inspired by archaic Middle and Far Eastern spaces (Sanjusangendo), the performance was a combined investigation of the power and energy that emanates from such spaces as well as the ephemeral potential of technology. The performance cumulated with the act of burning the painting and digitally projecting an intact version of it onto the wall, while the original work was being consumed by flames. The Temple of the Obelisks painting itself depicts a scene of the performance. In burning the work, Karam was experimenting with ideas of reality and projected reality, the artistic potential of technology, and at the same time paid a silent homage to the war dead in Lebanon.