How does a work of art filter and articulate trans-cultural experience and knowledge of history? This is a topical question in the present age of mass migration, where the traditional notion of the culturally unified nation state has come under pressure as European societies are transformed into multicultural societies characterized by cultural diversity. The discipline of art history has a long-standing tradition of regarding questions of cultural memory and heritage as pertaining to the history of the nation with its presumed ethnic and cultural homogeneity. Thus, art history is in urgent need of revising this nation-oriented notion of cultural memory and developing methodological and theoretical tools for analyzing how cultural memory can operate at the intersection between several cultures, and how the outcome of these processes is articulated in works of art. For this purpose the article introduces a cluster of helpful concepts: hybridity, cultural translation, multi-temporality and heterochrony. By way of a conclusion, it tests their usefulness in an analysis of an installation by Chohreh Feyzdjou.