In this article, the author focuses on rhizome as in proposing an understanding of Lebanese artist Walid Raad's work, describing decentered threads, lines, and dead-ends. It mentions that Walid Raad's work correspond to the idea that recent history cannot be understood and written by adhering to centralized, stable narratives; and also mentions that labyrinthine dimension of Raad's work, a constant flux of images and narratives, provokes new ways to reflect on how we construct history.