of existence I wanted to embody in an abstract object, in an object that corresponded to a definition I had created previously.” In 1963 Aroch returned from Sweden and settled in Jerusalem. He established a professional contact with Bertha Urdang, director of the Rina Gallery, Jerusalem, who mounted an exhibition of his works during this year. In addition, he was appointed the Director of Cultural Affairs in the Foreign Ministry, where he remained until his retirement in 1971. While participating in a meeting in Rome, as part of his job with the Foreign Ministry, he acquired the concept of using "Panda" oil pastel chalk, and started to work on a large body of work using this technique, some of them on reproductions and magazine pages (Gideon Efrat states that it was Aroch who introduced the term “Panda” into Hebrew as the generic term for this kind of pastel chalk). In 1964 Aroch exhibited 34 of his paintings in the Israeli exhibition at the Biennale in Venice, some of them drawn using the technique of “Panda” colors. In 1966 Masada Gallery in Tel Aviv held an exhibition of 23 of his Panda color drawings, organized by Raffi Lavie. Another series of works that Aroch worked on during the 1960s was based on a depiction of the Creation, a depiction of the Exodus from Egypt, and a depiction of Moses with the Ten Commandments as they appear in the 14th-century Sarajevo Haggadah. These works, such as the “Jewish Motif” (1961), “Arch in Blue-Purple” (1961), or “The Creation, Sarajevo Haggadah” (1966), exhibit abstract symbols of metaphysical significance. In these works, Gideon Efrat asserts, Aroch combined “Israeli lyrical abstraction, which Zaritsky and his colleagues had exported from Paris, with the memory of the Jewish people, a combination of New Horizons and Old Horizons.” and Judaism with Universalism. In his works "The High Commissioner" (1966) and "Agripas Street" (1964), Aroch created his most typical combination of “concrete” local perceptions and international “Pop Art”. In "Agripas Street," the most widely analyzed of all Aroch's works, Aroch combined symbols from the period he spent at Bezalel in Jerusalem that emphasized his interest in the religious and secular symbolism of authority and government. In "The High Commissioner,” which continues his interest in these symbols, Aroch used additional iconographic elements, based on the history of Western art, which were destined to show up in his later works as well.