The title anonymizes her before the collage restores her name. AN ARAB WOMAN sits inside an arch built from mother-of-pearl and mirrored glass, the same architectural pattern repeated until it reads as ornament rather than place — a woman absorbed into decoration, the way history absorbed Fatima al-Fihriya into the generic. But look at the earring: a mosque rendered in miniature, gold and blue, worn as jewelry rather than displayed as a monument. She founded that institution in 859, the oldest degree-granting university still operating anywhere in the world — and here it hangs from her ear, small enough to forget, permanent enough to remain. Her pen is mid-stroke, her gaze turned from the viewer toward the page she is writing rather than the frame she has been given. The title's erasure and the earring's precision argue with each other inside the same image: one flattens her into a category, the other insists on the specific weight of what she built. The collage does not resolve the argument. It leaves the two claims side by side, the way history did.