This research project departs from the contemporary cultural, social and political history of Morocco to generate an adequate discussion on the meanings and implications of seeing (visualizing) in the domain of art and culture. In addressing questions of visuality and perception, we need to ask preliminary questions as to who is entitled to seeing. Whose eye? Who/what deserves to be the subject/object of the look? Who sees better? What does it mean to see in a context fraught with turmoils and tensions? Keeping an eye on the importance of, and the ways of seeing, nonetheless, this research builds on the narratives of beauty/treasure hunters who do not see haven in orthodox ways of living gain. Indeed, this research rightly situates the discussion on the present and future of art circulation and the various underprivileged practitioners that contribute to the movement of art (across classes, cultural folds, and social loops). As it is important to come closer to the communities that operate therein, this research studies how different movements and flows affect the perception of the locals (and the perception of locals by onlookers) of categories such as beauty, aesthetics, happiness, and ethics, that, in return, borrow from and resonate with the popular (everyday) preoccupations, fears and future inspirations of the vulnerable communities involved.