
Teta Jalila, c. 1920. The photograph Laila Grace uses as the logo of her design practice.
A conversation with Laila Grace at SAIC Galleries about her thesis, Jalila's Vanity, Palestinian futurism, and the design lineage that runs through her distant cousin Rajie Cook. Full essay below.
If you have ever found a bathroom in an airport, you have used a piece of design produced by a Palestinian Christian from Ramallah.
His name was Rajie Cook. The family name was Sulaiman before Ottoman officials nicknamed his grandfather Küçük, Turkish for small, which the British Mandate Anglicized to Cook. He was born in Newark, New Jersey in 1930, the son of Jalila Totah and Najeeb Esa Cook, who had immigrated from Ramallah three years earlier. An elementary school teacher told him his name was too difficult to pronounce. He became Roger. He returned to Rajie in his older years.
He designed the world we walk through. The DOT pictograms (the standardized symbols for restrooms, telephones, baggage claim, no smoking, escalators, every wordless icon in every American airport, hospital, highway, and federal building) were produced by his firm Cook and Shanosky Associates for the U.S. Department of Transportation. President Reagan and Elizabeth Dole presented him with the Presidential Award for Design Excellence in 1984. The Symbol Signs are now in the permanent collections of the Smithsonian and the Cooper Hewitt National Design Museum.
In his later years, he turned to sculptural assemblage, making small boxes that documented his fact-finding trips through Israel, Jordan, and the West Bank and Gaza as a member of the Presbyterian Church (USA) Task Force for the Middle East. One of those works was exhibited in Made in Palestine in 2003, one of the first major American shows of contemporary Palestinian art. He died in 2021.
His distant cousin, Laila Grace, has just completed her Master of Design in Designed Objects at SAIC, following a BFA in Industrial Design at the University of Illinois at Chicago. She describes herself on her website as “a Palestinian Christian industrial and graphic designer based in Chicago,” with roots in Ramallah Tehta, Birzeit, Jerusalem, and Al-Husun, Jordan. She has organized in the Palestinian liberation movement since 2018, and her practice spans industrial design, graphic and visual communication work for movement organizations, and photography. Her thesis is Jalila’s Vanity, named for her great-great grandmother Teta Jalila: a Falahi peasant-class Palestinian woman from Ramallah Tehta, photographed around 1920 in her best clothing and jewelry. Laila uses that photograph as the logo of her practice.
Rajie Cook’s mother was also a Jalila from Ramallah — not the same woman as Laila’s Teta Jalila, but a relative on a branch of the family neither side has fully traced. The name recurs across the lineage the way names of matriarchs tend to.
Laila Grace is not an emerging Palestinian artist who happens to work in design. She continues a Palestinian American design lineage that ran from Ramallah through twentieth-century New Jersey commercial design through Cold War humanitarian witness, and that runs now through Chicago.
“Oppression is also design”
I met Laila at SAIC Galleries during the final week of Graduate Exhibition Two 2026, the second of the school’s two institutional graduate shows. Jalila’s Vanity sits in the Loop space at 33 East Washington Street, two floors below ground. She speaks the way people who have been organizing in Chicago for years tend to speak: declarative, direct, unbothered.
The first thing she said about her practice was not about art. It was about an undergraduate professor at the University of Illinois at Chicago who, when she asked about industrial design through a multicultural lens, told her that “white people invented design.” She has written about this moment on her own website: “This statement was not only ignorant, but also verified my realization of the need for a more inclusive and diverse approach to design.” She returned for her master’s, she told me, partly out of spite.
“Especially when I went to Palestine that summer,” she said, “I really realized how design is not only in objects, but also how we design a society and a community. Palestinians are very communal people because we design our communities effectively. That’s something people in the West actually really struggle with.”
Her thesis statement followed, offered without prompting:
“Oppression is also design. When we see the occupation, it is not only a political occupation that we see through law and politics, but it’s also architecturally designed: through the wall, through the borders, all sorts of things. So this is also a design issue. It’s design used in a way that’s actually really bad for our society, and we need to use design to create a better future as well.”
The separation wall, the checkpoints, the Area A/B/C carve-up of the West Bank, the settlement road infrastructure, the metal turnstiles at Qalandiya: each is a designed object, produced by identifiable designers, built for a function. The conceptual move Laila is making is to take that observation seriously. If oppression is design, so is its refusal.
The pivot
"Oppression is also design."
She has been making work in this register for years, across more media than her thesis suggests. Her portfolio includes graphic design for the Palestinian movement (t-shirts for the U.S. Palestinian Community Network, the Chicago Palestine Film Festival, Students for Justice in Palestine) alongside her industrial design pieces.
Her undergraduate thesis at UIC was Tea Time Under Apartheid: a table bisected by a partition standing in for the separation wall, with Palestinian cultural beauty laid out on either side. At SAIC she made Your Bombs, Our Leisure, a hookah whose body is shaped as a nuclear bomb, an object she writes “the FBI might expect to find during a raid on an Arab-American household,” pierced through a tray of Palestinian ceramics. She made Nijma, an Eastern-style ottoman using the Al-Khalil (Hebron) star motif. She designed a chess table inspired by Gaza’s chess clubs for children. She has a sustained body of tatreez work, including Tatreez of the Future and Tatreez After Dark. Jalila’s Vanity is the culmination of that tatreez investigation, not its beginning.
She calls this earlier body of work discursive design. The term comes from a real subfield (Bruce and Stephanie Tharp’s writing on objects as arguments) that Laila engages directly. The hookah bomb is discursive in this precise sense: it places the symbols of occupation and the symbols of Arab leisure into a single object and forces the viewer to hold them together.
The pivot that makes Jalila’s Vanity different is that Laila has decided to stop making work that engages Israel at all.
“I found that when I was making objects that were about Israel or about the occupation, about the genocide, it didn’t make people care on the outside,” she told me. “I wanted my work to make people care. I was kind of realizing people still don’t care. So I was shifting my focus more into designing purely for the Palestinian people instead of preaching to the choir or trying to change people’s minds.”
This is not depoliticization. It is a tactical reading of what design can and cannot do in the current information environment. Two years into the genocide in Gaza, she has concluded that further work aimed at convincing outsiders is a misallocation of her practice. Her current work is directed instead to a Palestinian audience.
“The wall is not our symbol,” she said. “We have fantastic artists who have made paintings on it, but the wall is not ours. The wall is not ours, but we use that so often.”
In her artist statement she calls this mode Palestinian futurism. The term gestures toward a small body of contemporary Palestinian work (the films of Larissa Sansour in particular) that imagines Palestinian existence outside the present political horizon. Laila’s futurism is n…
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