In 2008, the Lebanese non-governmental organization Umam Documentation & Research (Umam D&R) partnered with several local and international organizations, including the International Committee for the Red Cross (ICRC), to produce the exhibition 'Missing.' Between 2008 and 2010, the exhibition toured different parts of Lebanon, presenting portraits of some of the estimated 17,415 victims who disappeared during the civil war (1975–1990). Under each portrait was the victim’s full name, date of birth, and date of disappearance. To promote the launch of the exhibition, a poster featuring a collection of thumbnail portraits was widely circulated. This paper examines the social life of the exhibition and its poster, focusing on the agency of images within the public sphere (Awad, 2020), along three dialogical instances: (1) the exhibition and the poster as it appeared on the walls of Beirut in 2008, (2) their feature in Eliane Raheb’s documentary film 'Sleepless Nights' (2012), and (3) the poster’s feature in Ghassan Halwani’s essay film 'Erased,___Ascent of the Invisible' (2018). I argue that the exhibition was an effort to promote the global discourse of transitional justice, which revolves around the figure of a passive victim and seeks finality in truth, while the two films are subversive takes of this discourse. Through image transformation and destruction, the films question the authority of this discourse as they counter truth with historicity and disrupt the clear categorization of victim and perpetrator. While the exhibition dilutes all forced disappearances into a single collective narrative, the films underline the personal in the collective, and re-politicize the disappearances by re-assigning responsibilities and re-distributing power among multiple agents.