This time, the series of works contained tensions between two tendencies: intuitiveness and expressiveness alongside daily work discipline and focusing on a single size of paper; basic and almost childish images (a boat, sun, a bird, a flower, an ocean) alongside uncensored pornographic scenes. At the exhibition that concluded his stay at the program, Kühnemann displayed 650 of these works on a single wall. Additionally, in the center of the room, in front of the wall, he laid a low wooden table and some objects on top of it: parts of bicycles, dried flowers, avocado peels, and many more. Each object was laid in a box that was built for it. The table functioned as a horizontal fifth wall, a floating painting that has become three dimensional. These various elements – the objects created in the working process and the paper works that are its result – constitute one complete work. In a text about the exhibition that was published in the BE art magazine, the inherent Dialectic that was created as part of Kühnemann's new work process was discussed: "It is the simple, sometimes also ironic-atavistic appellatives that allow the painting process to unfold and organize associatively. No narrative emerges, no self-contained picture story; instead, this is a matter of free play and the encircling of associative landmarks. Precisely because Kühnemann practises this approach with strict consistency on a day-to-day basis, building up a routine, it leads – surprisingly – to the dissolution of routines." In 2016, some of these works were shown in the exhibition Open Sketchbooks at the Herzliya Museum for Contemporary Art, that was curated by Orly Maiberg. The art critic Uzi Tzur wrote in Haaretz newspaper: "Kühnemann's sketchbook is particularly beautiful and sensitive. You can recognize the organic transition from the materialistic patchiness, that almost seems to be random, to the creation of the appearance, image, when the pencil sketch brings life to the array of spots, tells a tiny story with an element of movement and warmth. In every page of the sketchbook, the artists' natural and exemplary sense of composition is noticeable, the laying of the spots, the weighing between them and the rectangle page, the greasy and dry, the cold and the hot, and the touch of linear drawing upon the spots as the touch of creation." Selected solo exhibitions 2018 Bicycle Temple, Haifa Museum of Art, Haifa, Israel (curator: Svetlana Reingold).