its own pending destruction. The figures from "The Family of Man" that Na'aman displays in her works, and particularly the many figures of children in her works, are characterized by an absence of facial expression and look like dolls or stuffed figures. A few days after the opening of the exhibition, just after the Lebanese War broke out, a bomb went off near the door of the Israeli Pavilion. The bomb caused a fire in Tamar Getter's exhibition and Na'aman's painting on plywood, "Blood Connection" (1982), was seriously damaged in the blast. In 1983 Na'aman had a solo exhibition in the Tel Aviv Museum of Art. This exhibition marked the opening of "The Helena Rubinstein Pavilion for Contemporary Art" as a building dedicated to exhibiting Israeli art. The exhibition included a number of Na'aman's works from the 1970s, as well as paintings from the exhibition in Venice and some new paintings. Na'aman's paintings from these years received mixed reviews in the Israeli press. Sarit Shapira claimed, in spite of the increasing use of bodily symbols in Na'aman's works, that these paintings were subjugated to the Zionist intellectual system. Raffi Lavie cited the influence of Marcel Duchamp and Jasper Johns on Na'aman's work and spoke of the complex relationships between the different images in the works. At the same time, there were other critics who thought that making this intellectual connection served as an impediment to understanding her work. Talia Rapaport, for example, described the works as "concerned with the organic development of a strange, schematic style". In 1986 a number of Na'aman's works were displayed in an exhibition entitled "The Want of Matter as a Quality in Israeli Art". One of the attention-getting works in the exhibition was the painting "The Eyes in the Field" (1983), which was first exhibited in 1984 in the Dvir Gallery in Tel Aviv. In the bottom part of the painting are schematic images of people and an image of a brain on a background of the blade of a shaving razor. In the top part of the painting are schematic images of human eyes, isolated from any human body, and placed on a decorative background. Na'aman's preoccupation with seeing and with establishing identity, which showed up even in her early works, became a central theme in a series of her works from the second half of the 1980s. Iconographic motifs of peeking and exhibitionism