body can't be seen. "All the viewer gets to see," Breitberg Semel remarked, "is a little piece of her skirt, that is, a little more black. Nothing else is on view. The fan, on the other hand, is photographed turning so fast you can see the hole in the middle of the blades. A kind of reversal is created between the male element (the fan) and the female element, with head and legs exchanged between them. Another work that used a photo of a fan is "Killed a Penguin/A Nun Was Killed" (1975). This work combined an interest in sexuality and popular culture, expressed through a chauvinist joke, with an interest in semiotics and the grammatical exchange between the passive and active voice. The fan, as Na'aman described it, "turns and, as it does, mixes white with black, life with death, penguin with nun". This mixing of different species can be seen also in other works, such as "Lord of Colors" (1976), in which Na'aman created a divergent and mistaken spelling of the name of God, or the series "Fish Bird", the beginning of which dates from 1977. These works had at their center a hybrid creature composed of photographs of a fish and a bird, taken from an encyclopedia of nature. The images were accompanied by texts such as "The Gospel According to the Bird" or "The Fish is the Joke of the Bird", which take their inspiration from Christianity along with a discussion of the questions of "Ars Poetica". New York, 1978–1980 From 1978 to 1980, Na'aman lived in New York, where she studied in the School of Visual Arts, with the help of a grant she received from the America Israel Cultural Foundation. During this period the "rabbit-duck", which has been a central ethnographic symbol in her work ever since, first appeared. The source of this image was the "Jastrow illusion," which raises the question of the identity of a visual image which was named for the American Jewish psychologist Joseph Jastrow. Na'aman borrowed the image from the book Philosophical Investigations (Philosophische Untersuchungen) by the philosopher Ludwig Wittgenstein (1953). In her works from this period Na'aman returned to painting techniques that included the use of stencils and the dribbling on of color. The paintings, which were dominated by shades of red and black, were composed of strips of newspaper, arranged along vertical and horizontal axles, like a