Using different techniques and media, Rabih Mroué's (1967, Beirut) practice stands at the intersection of visual arts and theatre, challenging the traditional tools of both. The artist's works reach the audience with an engaged posture and his research often takes its cue from the recent history of the Middle East and in particular Lebanon, with events such as the civil war between 1975 and 1990 or the conflict with Israel since 1982. The representation of war and death often play a central role in Mroué's work. Fascinated by the mechanisms of communication and representation in theatre, cinema, photography, but also in mass media, in the age of the internet and social media, what often emerges from his research are triangulations and short-circuits between these instruments, their relationship with institutional narrative and counter-narrative, the relationship between reality and fiction. Through the analysis of some of his works, the article intends to detect Mroué's aptitude for offering the public reflections that are always acute, aimed at highlighting the ambiguity of images and the mechanisms of communication, and never determined positions. What the artist intends to stimulate with his work are in fact critical visions that never seek to reduce complexity.