From the entrance of the house, one can observe the whole tragedy. On 6 January 2009, an Israeli artillery shell landed in the front yard of the Deeb family home in the Jabaliya refugee camp in the northern Gaza Strip. A large, wide hole in the ground and two missing walls are all that remain. Sitting in his wheelchair in the corner, Ziad, 22, is the last survivor of the Deeb family. He lost both legs during the attack, and 10 relatives were killed including his father, grandmother, brothers, nieces and nephews. 

Through their Eyes is an exhibition that brings together Palestinian artists who, over decades, have been painting Jerusalem in a wide array of rich representations, using various themes, styles and mediums. The focus is on the works that reflected their different representations of the city, their impressions, memories, images and recollections before its occupation in 1967, and after. 

When Emily Jacir was a kid, she told her family she wanted to become an artist and they panicked - not because they thought a life in the arts would be difficult but because they thought it might be dangerous. "They'll kill you, too," they said. Jacir's family wasn't just being melodramatic. In the context of Palestinian society in the late 1970s, to be an artist, literary figure or intellectual with a public profile was indeed something of a risk. 

"My goal is to remove the psychological barrier Israelis have against working with Palestinian companies," Tahboub says. "Our people have a good command of English, good managerial abilities, a familiarity with Israeli and Western culture and knowledge of the computing field. In addition, we are in the same time zone. Everyone knows it's possible to do business with Palestinians in the field of stone and marble, or textiles. They didn't know it was also possible to do IT outsourcing," he adds.  

Looking over the photographs selected by Amani Shaltout, our dedicated archivist, my eyes linger on the faces. What happened to the old man being helped aboard a departing boat? Where is the young woman staring out at us from the back of a Haganah truck? There is almost a uniformity to these images. The faces inevitably express fear, confusion, sadness. 

Situated in the heart of Bethlehem, directly between the Church of the Nativity and the Mosque of Omar on Manger Square, the Bethlehem Peace Center stands as a symbol of this West Bank city's reputation for coexistence, and is one of the premier cultural institutions and performance venues in Palestine. 

"The Stateless" is the title Mary Evangelista has chosen for a traveling exhibition of mixed media works by 10 Palestinian artists. Evangelista began to acquaint herself with the work of young Palestinian artists when she curated the ARTIsrael exhibitions of 1985 and 1986. As the idea of an exhibition by contemporary Palestinians became a reality, the New Yorker selected a panel of five respected jurors to choose the 10 finalists. 

Marwat Isa took an interest in her family's expulsion from the upper Galilee village of Biram only after her father's death in 1991. "We always lived with a sense of belonging to that place," says Isa. "To this day, people in Gush Halav live in unfinished homes, because they believe it will all be over in a little while, and we'll be able to return. The state lets us visit the village on two occasions: to hold ceremonies in the church and to bury our dead in the cemetery."