Since the start of the Syrian uprising in spring 2011, the Abounaddara collective has been engaged in a war of images unfolding on several fronts. First of all, there is a battle against the Syrian regime: its state propaganda, the strategy of murdering peaceful demonstrators during the uprising, the bombs launched against the population during the civil war. There is also the relentless battle against the media coverage of the Syrian conflict, insofar as mainstream media render invisible the thousand-and-one faces of the “revolution” (Abounaddara continues to use this term to describe the situation in the country)—a revolution that is trapped in the grotesque outside perception that there are now only two protagonists confronting each other: the dictatorship of Bashar al-Assad on one side, jihadist extremists on the other.