appeared in many of her works. Various paintings displayed images of empty male garments, reminiscent of the work of DuChamp, especially of his painting "The Large Glass" (Le Grand Verre). In 1989 Na'aman had an exhibition of her works at the Julie M. Gallery in Tel Aviv. In 1989 a son, Yonatan, was born to Na'aman and her spouse Yossi Mar-Chaim. The 1990s During the 1990s Na'aman began to create paintings that made use of geometric structures. One of the series of works she painted made use of a woodcut that depicted a wolf taken from a description of dream of one of Freud's patients, known as the "Wolf Man". Sometimes the image from the woodcut was combined with geometric structures that resembled an abstract geometric painting, and particularly the paintings of Piet Mondrian. A different use of the woodcut image appears in a series of paintings and prints based on contrasts between visual and textual images. In the painting "'Trees of Light' and 'Golden Showers'" (1993), for example, Na'aman used the color yellow as a double symbol for both light and urine. Another series was created using a labor-intensive work composed of colored squares that made up a colored surface. In works like "Throw out the Baby Along with the Bath" (1994), the squares form an image that resembles the blade of a razor. In addition Na'aman added images of a rabbit and a duck, images which she had used in the past. In February 1999, a large solo exhibition of Na'aman's works opened at the Tel Aviv Museum of Art under the title, "ha-Tzvaim". [Lord of Colors]. In English the exhibition was called "Legion", after a concept taken from the New Testament. According to Na'aman, "That's the name that the man possessed by a dybbuk calls himself." Along with new works, the exhibition included a number of her works from the 1970s. Most of the works in this exhibition included references to the concept of divinity. In the works that carry the name "Lord of Colors", Na'aman garbled the name of God, turning it into an Ars Poetica expression of the nature of the artistic image. This series of works made use of the pattern of squares Na'aman used in her earlier works, but here Na'man left on the paintings the strips of masking tape she used to make the squares. "The works sometimes look monochromatic," Na'aman testified,