Installation: Double Entrances was designed especially for the Atar Hall at Mishkan Le'Omanut, Museum of Art, Ein Harod. It was accompanied by a study of and writing about the Museum's conceiver, Haim Atar, and its planner, architect Samuel Bickels. The hall's four walls were covered with canvas from floor to ceiling. The canvas was painted white, and the painting was executed on a black stripe painted thereon, encircling the entire space.

Entrances: The double entrances (in sniped and squeegee-applied drawing) are mirror-image variations on a model of a Bauhaus entrance in imaginary freehand drawings (devoid of engineering or architectural logic) created during a visit to the Weissenhof housing estate (Weißenhofsiedlung) in Stuttgart. (The same preliminary sketches were used in many drawings created in Frankfurt in the 1980s, first in the cycle Impossible Bloom, and subsequently in the cycle The Recruits). The model of the floating entrance – several steps, a small ramp, and a handrail – is well-known in Israel as well, especially in 1950s kibbutz construction, as well as in the prefabricated construction of the years of settlement in the Occupied Territories. The drawings' mirror duplication was intended to dissociate the entrance from being the threshold of any house, to eliminate it as a passage area, and present it as a closed image, blocked within itself.

Figures: The six "pairs" between the double entrances in the work, present three age groups and three social positionings: a child (retarded), a youth (clown), and an elderly man (artist). A female nude is attached to each of them. The child is based on a still from Luis Buñuel's film Los Olividados (aka The Forgotten and the Young and the Damned) created in Mexico in 1950. The youth is based on a photograph of Oscar Schlemmer dressed as a Turk from his Triadic Ballet. The old man is based on a photograph of the aged Edgar Degas examining a plaster model of a female nude sculpture. The large nude at the center of the installation is based on preliminary photographs for paintings and sculptures taken by Degas himself in his studio.

Grotesques: The two additional pairs (drawn in chalk on the hall's two entrance walls) present (in two variations) the three ages and two sexes in a single, compound figure. These drawings are free adaptations of a drawing by amateur draftswoman Franca Geber, wife of modernist architect Cuba Geber, and mother of artists Tsibi Geva and Avital Geva.

Living Room: Painting (on the left wall) of a modernist interior, with a classical female nude bust at its center, after a photograph of the Tugendhat House designed by Ludwig Mies van der Rohe.