In the first chapter of the book, I present a brief historical background and context to Afghanistan, positioning it within the colonial narrative that continues to manifest through Western media and culture. Juxtaposed against these legacies of interference, I also present a brief history of Afghanistan’s long artistic heritage. I found that art in Kabul produced by participants adumbrated a future reflective of the aspirations of its upcoming generation. They channelled their experiences through many of their works to speak to an audience at home and afar. The introduction also presents the theoretical framework of the research as one working at the intersection of Southern theory, critical theory, and post-abyssal thinking. This chapter also outlines the evolution to a sociology from art praxis as an approach to decolonial research practice. Employing a hermeneutic phenomenological lens to the analysis, which recognises the researcher’s presence in the dialogic relationship with participants, the approach is ontologically focused on accepting a multiplicity of realities. That is, the researcher’s goal is to understand the event or phenomenon through the multiple layers it possesses. The unavoidable perspective of the knower, or the researcher in this case, in attaining the qualities of the object about which they seek to know, and the fragmentary understanding that this implies is key to hermeneutic phenomenology.