Larissa Sanour’s Nation Estate (2012) is a 9-minute short film that imagines a future Palestinian state constructed as a skyscraper. Rendered in a glossy, fluorescent palette of digitally generated imagery, the film follows Sansour as she returns from a trip abroad to the vertical nation of Palestine and roams its eerily underpopulated floors. Qalandia 2087 (2008), a piece in Wafa Hourani’s Future Cities series, also envisions a dystopian urban future for Palestinian statehood. This mixed media piece evokes an architectural model in both size and structure, comprising five scale models representing the future city of Qalandia. Named after the infamous checkpoint between Ramallah and Jerusalem, Qalandia’s segments are based on actual sites: the Qalandia refugee camp, the airport and the apartheid wall. Though both projects are rooted in a rich science-fictional vocabulary, Hourani and Sansour present opposite visions of a dystopian Palestine. Hourani’s is characterized by sprawling filth, a crumbling physical infrastructure and the dilapidated technology of a previous century (as is evidenced by the omnipresence of archaic television antennae). Sansour, on the other hand, gives us a Palestine that has been condensed and sterilized, its landscape controlled and contained by a single, surreal high-rise building. Furthermore, the approach of the viewer is radically different between each of these works: Sansour’s project offers the narrative absorption of film, inviting a participatory relationship to the work, whereas Hourani’s miniature models can be moved between and scrutinized, elevating the viewer to the omniscient role of an urban planner poring over a future city. In both of these projects, however, the physical space of Palestine is remapped according to a complex network of cultural signifiers and political imperatives, implicating the imaginary urban fabric as a site for the negotiation of Palestinian citizenship. This paper will consider these divergent models of space, approaching science fiction futurism as an emergent framework for critically interrogating the relationships between Palestinians, place, and the rhetoric of statehood.