2001 — Today
From the December 2001 press conference at Kabul’s National Gallery to dOCUMENTA (13) in Kassel and the National Endowment for the Humanities in Washington, D.C. — a quarter century of international coverage of Dr. Asefi’s work.
A note on spelling: over the years his name has been published as Mohammad Yousof Asefi, Mohammad Yousef Asefi, and Mohammad Yusuf Asefi — all the same artist.
By Charles Recknagel
Filed from the National Gallery press conference where Dr. Asefi first told his story publicly — one month after the Taliban left Kabul.
“I collected most of the figure paintings in a room and, using a special technique that I had, I painted over the parts of the canvas where there were figures.”
Coverage of the National Gallery's first post-Taliban exhibition. Reports that Dr. Asefi altered 122 paintings and, by altering or hiding works as restoration projects, saved 400 paintings in total.
“Throughout history artists have fought for their art. So as an artist myself, I tried my best and do what I could to save Afghanistan's art.”
How Dr. Asefi worked alone in a cold gallery room, hiding when Taliban officials appeared, painting over people, cows, donkeys and birds — matching background colors so perfectly the regime's enforcers never noticed.
Front-section NYT profile: mornings at the National Gallery with a sponge soaked in water, each wipe a revelation — a swan gliding where there had been only water.
“Each brush of the sponge brings a revelation. A swan glides on a shimmering stream, where there had been only water.”
By Andrew Solomon
The National Book Award winner's report from the reopening of the National Gallery, with Hamid Karzai presiding, where Dr. Asefi washed the watercolor away before ministers, journalists and diplomats.
“This is more, so much more, than the reopening of a museum. — Hamid Karzai”
National Geographic interviewed Dr. Asefi and nominated him for an international award; the interview was excerpted in the documentary "Lost Treasures of Afghanistan."
An NEH delegation traveled to Kabul to present Dr. Asefi with a commendation from the United States government for his "extraordinary and heroic role in the defense of Afghan culture."
The documenta team traveled to Kabul, interviewed Dr. Asefi, and purchased his painting "Dare Shamali" (2011), which was shown in the Fridericianum rotunda — the "Brain" of documenta 13 — and recorded in the exhibition's official catalog and Logbook.
By Sarvy Geranpayeh
An extended interview from inside the still-unopened Kabul gallery — on the bombing, the rebuilding, and why Kabul needs culture.
“What is important is for the art to survive — an explosion can't kill an artist.”
Inaugural artist-in-residence at the Center for the Study of Religion and Conflict, Arizona State University.
By Dawn Beeson
On his life as artist-in-residence at ASU's Center for the Study of Religion and Conflict, and the Humanities Week open house where he painted live.
“Since coming to the United States… I have regained my voice. — Dr. Asefi”
NEH press release announcing "Repression, Resilience and Renewal" — a three-day exhibition of Dr. Asefi's work in Washington, D.C. (July 21–23, 2026) and the panel "The Courage to Create," supported by a $30,000 NEH Chairman's Grant.
“Dr. Asefi's courageous work serves as a reminder of the critical but often overlooked role cultural heritage and creative expression play in the flourishing of a free society. — Michael McDonald, NEH Senior Deputy Chairman”
The excerpts above are drawn from two longer films. For the complete record — the National Geographic documentary, and the full archival footage in which Dr. Asefi wipes clean more than fifteen paintings for presidents, ambassadors, and the international press — watch both in full below.
National Geographic, "Lost Treasures of Afghanistan" (2004) — the documentary that followed his nomination for an international award.
Full archival footage of the National Gallery reveal — including President Karzai (1:17:24) and Ambassador Ryan C. Crocker (1:45:40).