Beginning with a scholarly essay reviewing recent writings on war art, the book then traces the artists' works prior to becoming war artists. It then documents extensively the collaborative artworks produced in the aftermath of their experiences in the field. Poignant and often frightening fragments of vision are brought together in richly detailed panoramas which evoke the terrifying atmosphere of human combat.
For example, Spook Country, Maleana combines Cattapan's painterly mark-making with Lyndell Brown and Charles Green's powerful photography to create a tableau of military paraphernalia and its organisation and very intimations of aftermath. As a publication, Framing Conflict provides another telling example of how the vision of artists contributes to an understanding of human nature and its problems.