Memory Lapse positioned Nadim Karam's practice at the intersection of its two most distinct registers: painting and sculpture. Together, the works constructed a world governed by its own internal logic, where familiar forms drift toward abstraction and narrative accumulates in fragments rather than sequences.

Karam's paintings operate as fields of suspended imagery, populated by figures and symbols that hover between presence and disappearance. His sculptures introduce a structural counterpoint, translating that same visual language into form that occupies real space with an almost theatrical physicality. In dialogue, the two mediums revealed what each resists alone: the paintings gain weight, the sculptures gain poetry.

The result was an exhibition that did not explain itself but rewarded sustained looking, asking its audience to meet the work on its own terms.