Baghdad in 2011 is a wounded city, divided symbolically and physically by the ubiquitous protective barriers, the concrete walls that break its space, its movement, its breath. Known as T-Walls, they have become the city’s new visual markers. But on the disfiguring concrete barriers that scar the city fabric, we see are neither portraits of martyrs or ayatollahs, as in Lebanon or Iran, nor slogans of death as in Palestine, nor political protests as in Belfast. T Walls have become the city’s new canvas. Are these dream narratives or official make-up? Whether spontaneous or ordered, naive or sophisticated, what we see are scenes from the Arabian Nights, legendary heroes of antiquity, pastiches of Iraqi 20th Century masters, pastoral landscapes importing rural imagery at the core of the capital, or simply the image of Baghdad itself. These include the daily city, with its markets, domes, bridges, modern illuminated buildings, its Ottoman houses along the Tigris, and even churches: as if normal life itself now an inaccessible reality is only to be seen in two dimensions, or by in these concrete dreams. This paper highlights this little noticed chapter of a visual Baghdad and is based on numerous visits featuring photos taken in 2009, 2010 and 2011 and recording recent interviews with painters, journalists, teachers, by-passers, to provide clues about the varied narratives told by those paintings and their impact on those that view them. Some of these frescoes have become part of urban ephemera and do not exist any longer such as those which protected the Governorate of Baghdad building, partially destroyed in a suicide-bomb in December 2009, a few days only after they their images were taken. Seen from outside, contrasts make today Baghdad looking somehow surrealistic. One may ask is this official making-up? Is it simply a pathetic failed bureaucracy resorting to denied identity or dignity? What is this deviance of past artistic mastery? Can we assume that it is simply the desire to escape from a daily desolation – or, is it a mixture of the many contradictory trends reflecting the perplexity of Baghdad’s current population and their confused state of mind?