The exhibition explores the notion of material meagerness—a form of intentional sparseness in contemporary Israeli art. Rather than employing minimalism or reduction as in the previous century, these works construct materially rich and layered worlds that are, at the same time, restrained, brittle, and prone to disintegration. The participating artists interweave sparseness and richness, crafting a visual language that embraces this duality.

Matan Oren presents a painting installation titled Through/דרך, composed of oil paintings suspended from metal and wood structures that balance on the floor in a play of weights and gravitational centers. The painted images—a bridge, gate, or path—are landscape fragments, pieces of gardens and parts of a city that mark points of passage while also suggesting obstruction. These paintings act as partitions in the space, dividing it physically; they are separations that create transitions—linking subject, style, and spatial placement.

Hili Greenfeld’s restoration paintings are a series of delicate drawings on paper that have undergone destruction—tearing, covering, gluing—and then restoration on a new base. This process of damage and renewal creates a layered history of material and time embedded in the surface.

In Golden Waterfall, Einat Amir recreates wallpaper based on photographs she took in an abandoned house. She reprints it on billboard paper and works over it with gold leaf and creasing, creating a tension between opulence and fragility.

Yael Oren-Sofer’s painterly installation consists of ceramic segments hung in a fragmentary manner. These shards collectively form a partial image, completed by the viewer’s gaze. The composition is dynamic, growing organically into the wall and surrounding space.

In Crowding, Noam Vankret presents a painting broken into individual forms dispersed through the gallery. The composition shifts as viewers move around it. Each component is a collage of gouache-painted papers suspended from the ceiling, revealing their flatness, delicacy, and the emptiness beyond. The imagery is drawn from sketches Vankret made near Tel Aviv’s old central bus station, as well as from paintings by Goya.

Inbal Mendes-Flohr works with modest materials—wrapping paper, cardboard, packaging, discarded wood—onto which she paints “low” subjects: a mix of imagery drawn from pop culture, politics, and the chaotic patchwork of Israeli reality, blending high and low without hierarchy.