<p>In her study of Aref El-Rayess's <em>The 5</em><em>th</em><em> of June</em> or <em>The Changing of Horses</em> Natasha Gasparian reveals that the picture was presented and received allegorically or metaphysically as an idealized narrative of national liberation. By tracing the caesuras and slips in discourse she reconstructs an alternative reading of the artwork's uncanny yet historically determinate character.</p>