In the biblical account, it is the word that brings the world into being, giving it form. The word's creative force also lies at the heart of Edith Rosenfeld's exhibition. Her work brings her Jewish identity and the Japanese culture in which she was raised together, drawing inspiration from both.

Presented in the illusory quiet after war, Sharon Poliakine's exhibition is centered on the notion of the "ghost image," a term drawn from printmaking, concurrently evoking the spiritual realm. It is the faint residue of an earlier print, left on the plate, reappearing on paper of its own accord, like a phantom.

Goren's unique working process begins with folding, tearing, and creasing the paper, continuing with layered painting built through smearing and dripping, erasing and adding. Time plays a role in the construction of the images, which gradually take shape and coalesce into an experience that Goren calls "fake authenticity"—like a stage set in which "real" objects are embedded. Goren regards them as clues, forensic finds, evidence of a story whose plot remains unknown.