The city is constantly (un)veiling, throughout history, overlapping political, social, and religious influences on its people. During the Siege of Sarajevo there was never a permanent wall barrier; however, the natural contours of the river and invisible screens of the snipers served as impermeable walls. The implied boundary [of danger] was more powerful than the massive concrete barricades. Simple sheets of fabric were placed at strategic locations throughout the city, mainly at street crossings, to create a make-shift barrier and provide some coverage to shield citizens from unavoidable sniper fire. How can we [re]trace a series of events that changed the boundary, flow, and fabric of the city? Is it possible to recondition something [building, space, soul] to be the same, feel the same, when it was wounded, destroyed, and deeply scarred on the inside? [re]Tracing the Veil is a series of installations threaded around the urban memoryscape, narrating part of our most recent history, and creating new urban interiors. No longer is the veil creating a physical barrier to the other side; rather, it outlines the implied boundary of danger that once existed. The new veil is perpendicular to the river and major crossings, and it reveals to its viewer the layers of our past. [re]Tracing the Veil is juxtaposed with the existing urban condition, where one may experience two timelines simultaneously. It is a trace, a relic, a collection of remains that make up the narrative of each of our stories, weaving together all four threads—time, scale, site, and narrative—into a spatial storytelling.