My proposed paper will trace Palestinian artist Dor Guez’s photographic interrogation of the Palestinian landscape in three multimedia installations that span his career: “Georgiopolis/Lydd Ruins” (2009); “The Nation’s Groves” (2010); and “Knowing the Land” (2023). In Guez’s earliest public work, the nocturnal landscapes in “Lydd Ruins” both reveal and obscure remnants of Palestinian architecture destroyed or fallen to ruin in the (Israeli) city of Lod (formerly a Palestinian Christian town named al-Lydd) after Israeli military forces conquered the city in 1948. “The Nation's Groves” ("Mataei Hauma") was a government-owned agricultural company that served in the 1950s as a branch of the Zionist enterprise, managing and maintaining the groves, vineyards and lands nationalized following the establishment of the state of Israel. That installation focused on the Israeli forestation project and the work of The Nation's Groves company, while combining historical ethos with individual tales. Much of the land managed by the company had previously belonged to Palestinian farmers, who became laborers in The Nations Groves. In “Knowing the Land,” Guez threads connections between public and private archives, traditional photographic techniques, and new photographic practices that render the maps as sites of “dis-orientation.” The phrase “Knowing the Land” was coined in 1845 by Joseph Schwarz, one of the first geographers of Ottoman Palestine, and this project of exploration expanded during the British Mandate period. While my previous research explored Guez's use of family photographs, this paper will show how Guez uses landscape photographs, videos, and mediated images of such photographs from private and public archives to mine the mythological and political dimensions of Palestine as a site of colonial projections and strategies.