Abstract
The past decade has witnessed a surge in quasi-documentary art forms engaging with the topic of war and conflict. Taking its point of departure in this trend, this article will analyse and discuss the performance How Nancy Wished That Everything Was an April Fool's Joke by Lebanese artist Rabih Mroué. Positioning the performance within the specific context of post-war Lebanon, the article will explore the ways in which the twisted documentary strategy employed by Mroué, that is, an approach entailing the blending of fact and fiction, might be said to work as a critical strategy, ultimately inviting the audience to question the existing, competing renderings of the Lebanese Civil War. Based on these findings, the article will conclude by suggesting why the quasi-documentary format has developed such evident appeal for artists wrestling with the topic of war in the contemporary era of visual warfare.
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