In pen and ink artworks such as Vole Voile (Veil Flight, 2007), contemporary Tunisian artist Najah Zarbout contests the sexualization and subsequent covering of female hair by using hair to conceal and, alternatively, expose the female body. The body is sometimes present, buoyed by hair, and sometimes absent, where the silhouette of the body, shown as negative space in the drawing, collides with a mass of hair. This analysis of Zarbout’s surrealist collages argues that Zarbout uses covering, revealing, and mirroring as metaphors through which to explore the social layers of Tunisian women’s reality. Zarbout is one of the many contemporary Tunisian women artists who use surrealism to encode critiques of a Tunisian authoritarian system that is structured upon genital sex, gender, and the family in the service of the nation-state. The demands of the state and society on women’s bodies can manifest in a woman experiencing herself as being both an embodied entity and also the “other” who surveilles her. Unruly hair, an extension of the female bodies in Zarbout’s artworks, both veils and reveals portions of the figures in its mediation of the space between embodiment and disembodiment. In doing so, the hair disrupts the self/other dichotomy and illuminates how Tunisian women are renegotiating their relationships to their doubled selves. Zarbout’s emphasis on covering and revealing in the Tunisian context recalls discourses surrounding the Muslim women’s veil, which in Tunisia, occupies a complicated social position mediated by culture, religion, and the state. Elsewhere, monolithic understandings of the veil cultivated by Neo-Orientalist fantasy-driven rhetoric have been analyzed by artists and scholars alike. However, while works by Zarbout from the 2000s reference veiling, she in fact offers a different approach. Rather than engaging in discussions about the cultural and political significance of the material veil itself, she redirects passé discourses surrounding veiling to investigate the different social veils that Tunisian women wear; social veils produced at the intersection of Tunisian state prescriptions and social norms embedded in extra-state cultural understandings. By recontextualizing hair as something with which to cover or enhance the body, rather than a thing to be covered, Zarbout’s artworks demonstrate how the tangible material of women’s hair intersects with its social meaning in a culturally Islamic context.