Ghasemi, the artist behind the series, observes that the meaning of his works varies greatly depending on the context and often addresses topics such as censorship, women's rights, the hijab, and Islam.

[8] Ghasemi masked faces so that Iran Reformists could not use his images as an example of how Iranian society was progressing and, at the same time, prevented the conservatives from using his work to clamp down on what they perceived to be un-Islamic activities.

The work evokes the censorship of imported magazines in Iran, where skirts are lengthened, and women’s bodies are covered with strokes of black marker.

In 2008, Amirali Ghasemi, along with Serhat Köksal, organized Urban Jealousy, the 1st International Roaming Biennial of Tehran, an itinerant exhibition that drew considerable attention.

With such an important curatorial project, Ghasemi found it necessary to challenge clichés and bypass the stereotypical exhibition of Iranian art created and intended for export.

The festival invites guest curators and collaborates with various institutions and archives in Berlin, Stockholm, Helsinki, Cairo, Ljubljana, Paris, Toronto, San Francisco, Vienna, Montreal, Brussels, The Hague & Dublin in the past years to fulfill its mission to reduce the gap between various field and promote interdisciplinary practices.

[16] The festival aims to create a platform for dialogue and exchange among artists, curators, critics, and audiences who are interested in experimental and interdisciplinary practices.

Berlin: Hatje Cantz Karimi, Pamela (Spring 2010) "When global art meanders on a magic carpet: A Conversation on Tehran's Roaming Biennial" in The Arab Studies Journal.