The significance of Moslemian’s art lies in the enduring bonds it makes between the image and the world of experience. He has always dealt with social conflicts in his art. His painting has always been something other than painting itself. Since the late 1990s, abstract elements in his paintings are formed through an encounter with reality and dealing with the complex dimensions of that encounter (which is essentially political). On the other hand, his art puts forward these questions: how are we basically able to encounter experience (and its memory) or the image, and how are we able to represent our experience in a coherent way? The deployment of signs and technique in Moslemian’s paintings, rather than being a pretext for blissful conceit and mystic arrogance, is the manifestation of an art ashamed of the predominance of lack and turmoil in the society. His dramatic rhetorical art is not an artificial image of perfectly realized love and beauty. Rather, it is a spectacle of injuries, annihilations, and disillusionments, an art which insists on keeping alive the awareness of the necessity of change and the hope for the possibility of redemption by calling to mind these disastrous aspects of human life and showing the traces of a shattered love.