Across a body of work that spans photography, video, and installations, Nadim Asfar’s early works engage with the technical and experimental origins of image-making. In his book Hyper Images he employs a camera-less photographic technique—the photogram—that is as old as photography itself, to produce a series of floral “photogenic drawings” that are as much records of action as they are still lives disconnected from recognizable spatial and temporal markers.