Yair Barak’s current project started with a visit to the studio of Uri Lifshitz, who died in 2011. Barak arrived at the studio of the artist, whom he had not known personally, in the aftermath of his death – in hindsight – saw a wall made up of joined-together small boards on which he used to hang his works in progress, and immediately understood that he had to do something about it. The large wall of photographs displayed on the concrete wall at the entrance of the museum – Hindsight (Vertical) – seems to reproduce the wall that Barak discovered at Lifshitz’s studio. The photographed frames are not identical to the distribution of the conjoined wooden boards, and a close- look at the photographs reveals the seams between the boards. At first sight, the work seems like a reproduction of an original – except that, from the outset, the original in this case is informed by excess, is something left over, with no independent value, and consequently the act of reproduction is distorted. In the Hindsight (Horizontal) video work, the archeological, medical, and forensic gazes on the same excess appear to blend together. The work is filmed in a single shot – refined, yet also decisive. Line. Stain. Motion. The structuring of the mechanical procedure of the work, the continuous, unbroken movement, and the repeated changes of direction are so precise, that they allow sensuous, emotional, and conceptual aspects to percolate and emerge from the work, and a poetic quality to be revealed.