These War Rugs are a testament to the mastery of Eastern artists in narrating history through everyday objects. These artefacts, whose origins still remain largely to be investigated, have enjoyed significant dissemination both within and outside Afghanistan. War Rugs are true works of art because of their aesthetic, ethical, and social significance; on their surface thickens a wide repertoire of “visions of power” that stage power relations between states, especially in an Afghanistan torn apart by decades of invasion and civil war. Created in a context of war, these carpets, in which weapons constantly figure, may point the way to a culture of peace, in which the borders of states, a central theme in territorial disputes, rather than being desecrated, can be peacefully crossed to explore spaces and share cultures. The theme of borders is more relevant than ever in the current war unleashed by Russia against Ukraine. We already know that regardless of the military outcome, we can hardly speak of any success when the violence, in addition to the thousands of casualties caused by the clashes, spills over to the civilian population leaving indelible trauma and rubble. The border is a convention that separates and divides, but at the same time establishes a belonging that guarantees protection; while war, any war, by desecrating the border, violates any form of identity process.