to Raffi Lavie. On her work "A Kid in Its Mother's Milk" (1974), which was shown in this exhibition, Na'aman wrote a text that transferred "the religious, Talmudic law to a national, secular reality" in both a private and a national context. The Biblical text "A Kid in Its Mother's Milk" appears on a piece of exercise book paper next to the text "A Country That Eats its Young", as well as in pink letters on the wall of the gallery. The work was heavily criticized during the exhibition. Yehoshua Kenaz, for example, the editor of the Culture Supplement of the newspaper Haaretz at the time, described the work as "trickery". Another work shown in the exhibition was the photograph "Daughter of Israel" (1974) – photographic documentation of an "activity" in which Na'aman wrote a text taken from Ultraorthodox warning notices about modesty, on a piece of paper attached to her arm as a sort of splint. Na'aman's use, in a critical way, of Jewish traditions in her work was characteristic of other works she created during the 1970s. Airy Nuns and Other Species In the middle of the 1970s Na'aman began to use collage and photography as a central part of her work. The use of photography as a central part of the raw material of her collages enabled Na'aman, for the first time, to introduce clear visual images of sexuality and sexual perfection, alongside a preoccupation with her real and fake identity. In her series of works entitled "Blue Retouch" (1974–1975), Na'aman made use of photographic images of Zalman Shoshi, Uri Zvi Greenberg, and of a female criminal whose eyes were gouged out. These images underwent a "retouch" using a blue pencil, that emphasized certain details in the photographs. On December 23, 1975, Na'aman's first solo exhibition opened in the Yodfat Gallery in Tel Aviv. It was the last exhibition mounted in this gallery before it closed. In the review in the newspaper Al HaMishmar, Chana Bar-Or wrote about the works in Na'aman's exhibition that they represent "one long, difficult system of 'conceptualism' trying to break out of the concept". In "Vanya (Vajezath)" (1975), a collage exhibited in the exhibition, Na'aman uses a photograph of the legs of a woman with her underpants pulled down juxtaposed to a photograph of a ceiling fan. Sarah Breitberg Semel described the work retrospectively as a "strip show" by a woman whose