The History Lessons cycle is painted in oil-tempra, chalks and dry pigments on canvas, on wood, and in situ directly on walls, usually on one or two perpendicular surfaces, continuous, and sometimes on an entire space.

Short stories, chalk handwritten, or printed by gum-letters, to be seen-read panoramic wise, are often on walls or boards. The stories, of grotesque character, are mostly in the form of letters, their narrator a fool, at times physically hindered.

The cycle was accompanied by extensive work on paper done in a variety of techniques, including the use of absurd methods like drawing blindfold through long sessions of repetition.

Likewise, with the purpose to put more and more constraints on Painting, this cycle and onward takes a preference for oversized formats, and for the use of foreign tools, such as the plumb-bob, knives, and other bricklayer equipment. 

Rephrasing earlier preoccupation with fragmentation and the pictorial status of the fragment from within the notion of constraint is the main issue of this group of works. The primary use of colors as a 'marking-out-tool' has been intensified. Along with the reduction in layer density and painterly layering at large, also the scale of color has been greatly reduced. 

Once in smaller formats, (as shown below) the reoccurring composition of the cycle is centralized and has an iconic character (similar to the iconic nature of the Tel Hai cycle), but in the large scale works on the walls the compositional interest develops around situations that were examined in the later cycles, those of the 'side by side', and 'one by one' order. 

(The painting-installations of this cycle are presented separately. Please, follow according to dates)

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History Lessons addresses a relation between machine and body. The cycle is populated with many human grotesques materializing this relation. The cycle name comes from the Jean-Marie Straub film by the same name. In it, sun-tanned  Roman Senators in white togas roam today's Rome in posh sports cars, busy chatting on current affairs.