The performance lasted for one hour and 34 minutes. I documented it through video and still photography, creating a sample video that captures the events within the protest space and parts of the speeches. The documentation shows a crowd surrounding the installation and observing it, set against the backdrop of protests against Prime Minister Benjamin Netanyahu. Occasionally, people cross the installation area, stepping on or moving the elements, some apologizing, some restoring the elements, and some continuing on their way.

In response, other protesters arrange and return the elements to their places. The protest space gradually fills with more protesters, increasing the crowd density as people navigate through the crowd and the installation area. After about an hour, one of the protesters begins to pile the elements into a single heap resembling a pile of trash, and the installation space returns to being used by the protesters as usual.

Against the backdrop of the pile of tents, the main protest speeches begin: first, an announcement of civil defense instructions in case of a missile alert, followed by the singing of the national anthem, and then the first speech addressing the conscription law. At the end of the video work, there is a feeling of resounding dissonance between the remnants of the installation representing the victims in Gaza and the speech addressing the conscription law: a law that discriminates between those who are conscripted for mandatory service and reserve duty and those who are exempt. This is a burning issue that has risen to prominence due to the prolonged war, the hundreds of soldiers killed, and the government’s decisions to pass laws deepening inequality within Israeli Jewish society. The dissonance highlights the disparity in the value placed on Israeli lives compared to Palestinian lives in Gaza.