This paper examines the transformations and shifts in Iraqi visual production that took place around two key traumatic moments in Iraq’s recent history: the 1990s’ sanctions and the 2003 invasion. They are two moments of extreme contrasting natures. The first moment is characterized by severe isolation and the second by a sudden thrust of openness. Both moments, nevertheless, share the alteration in Iraq’s traditional state-patronage and the fragmentation and dislocation of Iraq’s art center, located in Baghdad throughout the 20th century. The displacement and migration of Iraqi artists resulted in the creation of new temporary and shifting artistic centers in exile. It also resulted in two distinct art productions and a wide gap, even resentment, between diaspora artists and established artists who remained in the country. Along with the two productions, in exile two types of Iraqi art exhibitions emerged, caused by a much broader interest in Iraqi art aroused as the world recognized the existence of contemporary Iraqi artists. This interest, however, is very conditioned by the politics of a victimized people or a new “liberated” nation. The paper will examine the two art productions, inside and outside Iraq, and will focus specifically on how these visual works articulate and provoke traumas, as well as the politics of exhibiting these works today.