kind of cross. On the cross images of the "rabbit-duck' appeared, alongside of text fragments and sentences in English connected to the concept of identity". The works, Na'aman declared, were concerned with "the increase in genetic reproduction" in family images, and in the reciprocity of looks exchanged between you and the world. In 1980 Na'aman mounted an exhibition of these works in the Gallery of Bertha Urdang in New York. "The Eyes in the Field", 1981–1989 In November 1981 Na'aman exhibited her work in the group exhibition "Another Spirit" in the Tel Aviv Museum of Art. One of the paintings she exhibited, "Woman Gazing at a Turtle" (1981), showed schematic human forms performing various physical activities. The more "picturesque" aspect of this and other works from this period constituted an innovation in Na'aman's work. This was expressed in a reduced use of text, in a cessation of the use of photographs, in a more varied use of color, in the use of larger canvases, in the use of visual images taken from Western art (e.g., images from the paintings of Francisco Goya) in her works. The curator of the exhibition, Sarah Breitberg-Semel, who was also the curator of Israeli art in the museum, frequently exhibited the works of Na'aman in the Tel Aviv Museum of Art and other venues during the 1980s. In 1982, a solo exhibition of Na'aman's paintings opened at the Israeli Pavilion of the Venice Biennale. Along with Na'aman, Tamar Getter also exhibited her works. Na'aman exhibited large scale works featuring human figures alongside figures of apes, reminiscent of Darwin's The Origin of Species. In the center of the painting "Lloyd and Floyd: Siamese Twins" (1982), for example, Na'aman draws the family of man, which is being carried on the back of the father of the family in a kind of human pyramid. In front of them stand two parallel figures—an ape and a man – drawn in profile to the viewer. Breitberg-Semel, curator of the exhibition, described the work of Na'aman in the catalog as featuring figures which were hybrid and grotesque. According to Breitberg-Semel, the painting of Na'aman makes use of a permanent set of figures that undergo graphic and color transformations which connect, complicate, and instigate conflict between one theory and another, one situation and another, one person and another, to the point that the composition seems to contain all the cracks pointing to