Audiences are usually moved by many different art forms, like paintings, videos, films, and music. However, some have not been fully exposed to the essence of performance art. Mona Hatoum, a critically acclaimed performance artist, was born in Palestine and raised in the United Kingdom. Mona Hatoum is a clear example of a performance artist, with an impactful message and a unique creative vision on the of making political art. The article "A Past Not Yet Passed" by Chrisoula Lionis, shines a light on Mona Hatoum and her exquisite creativity. Her projects, such as "Keffiyeh" and "Measures of Distance," have left a mark on audiences. Throughout the article, the author explores Hatoum's artistry. She researches and analyzes the symbolism within her projects and examines how it gives the audience a unique emotion no other art form can give. Furthermore, Hatoum's artistry is connected to a term called "post-memory," which the author used to describes Hatoum's work for her vivid portrayal of trauma, gender, tradition, and religion. The author expresses how Hatoum's use of "post-memory" art can solely satisfy audiences nostalgically with its literal materials and vivid execution. The author argues that Mona Hatoum's art is the best representation of tradition, trauma, and gender within her childhood life in Palestine, through a thorough analysis of the post-memory effect.