Rami Maymon, whose works move in the spaces between photography, sculpture, and installation, took the Mishkan catalog and used it as a platform for painting and collage. The black and white pages became colorful, abstract, and expressive in moderation, perhaps because of their size. Only in a few cases did something remain from the reproduction, the object commemorated in the catalog. All that remained exposed is the text: name of the artist, name of the artwork, year it was made. The new buried the old and all that is left on the surface of the earth is a monument. The resulting hybrid seems to force us to read the new image through its accompanying label, the monument of the image which it replaced, to read the abstract through the symbolic, to surrender to the urge to decode, to give oneself over to the Rorschach-like state and guess the contents of the “black box” from out of the twists and turns of that other black box – our consciousness.