This paper discusses ways of thinking about Maghrebi visual culture. I take visual culture to be the shared practices of a group, community, or society through which meanings are made out of the visual, aural, and textual world of representations. I delineate select characteristics of Maghrebi visual culture that generally varies by place, local culture, gender, and over time. I begin with the modern era and photography, namely, how camera technology developed locally to create camera culture. With the advent, first of film, and later TV, horizons of the possible, that is, horizons of expectation, channeled certain of the directions that these technologies took. Governments in particular played important, sometimes determinative, roles regarding funding, censorship, and distribution. Development of the Internet, including email and blogging, and of social media technologies, such as Facebook and Twitter, have built on and elaborated in turn earlier horizons of expectation. Access to and spread of social media has entailed individual and societal costs, as well as government regulation and censorship. Cellphone cameras enabled citizen journalists posting to the Internet during the Arab Spring to disseminate news and documentary footage outside commercial and government networks. In important ways, Maghrebi visual culture is transnational; it is marked by degrees of hybridity and in-betweenness. Certain visual artists born in the Maghreb live and work in the US or Europe; in their lives and works they traffic back and forth. During the Egyptian Arab Spring video artists created mashups editing together protest images with scenes from V for Vendetta. In short, this paper engages several themes adumbrated by the panel organizers, namely, the production and spread of alternative visual cultures in the Maghreb, ways in which Maghrebi visual culture in the diaspora engages with local production of art, and critical theories of visuality that Maghrebian cultural products exemplify and interrogate.