Within the framework of the six national exhibitions shown in honor of the 60th anniversary of the State of Israel, the Tel Aviv Museum of Art has chosen to present the 1970s: 1968-1978. The Six-Day War (1967) and the first Lebanon War (1982) delimit this time span, with the Yom Kippur War (1973) casting its onerous shadow in the middle. In terms of the dynamics of Israeli art, the beginning of this period was marked by the later influences of New Horizons, whereas its end—by postmodernist practices whose reverberations are still discernible today. The exhibition focuses on works of art in which the body of the artist himself served as raw material in the creative process.The exhibition consists of two main parts: one concentrates on self-portraits in which artists related primarily to the face as a means fortransmitting a message. About thirty artists represent this trend in the show, from artists who were then starting their careers (such as Ra’anan Levy and Asad Azi) through such established artists as Avigdor Arikha and Igael Tumarkin—each in his own way and style. The second, more extensive, part of the show focuses on the artist’s body, and is anchored, among others, in post-conceptual trends andbody art, as well as in various mediums—performance, installation, and video, television and cinematic photography. In these works, the artist takes upon himself several new roles: examining criteria in relationship o space (for example, Micha Ullman, Joshua Neustein, Michael Druks, Moshe Ninio); a driving force for action in landscape (like Itzhak Danziger, Avital Geva, Pinchas Cohen Gan, Benni Efrat); presence of  a shaman and mender of the world (like Motti Mizrahi, Avraham Ofek, Mikhail Grobman, Haim Maor); victim’s sensitivities and self-exposure to experiences (for example, Yocheved Weinfeld, Yudith Levin, Gideon Gechtman, David Ginton). The exhibition is presented in three of the Museum’s galleries as well as the Meshulam Riklis Foyer. The artists who served as mentors of  Israeli art in the 1970s—Itzhak Danziger, Micha Ullman, Avital Geva and Dov Or-Ner—are exhibited at the Ruth and Bruce Rappaport Sculpture Gallery. Self-portraits by Pinchas Cohen Gan, Benni Efrat, Joshua Neustein, Buky Schwartz, and artists who explored their own bodies as part of a conceptual-cognitive thought process, are presented at the Sam and Ayala Zacks Pavilion. The other artists shown alongside, Motti  Mizrahi, Avraham Ofek, Mikhail Grobman, and Michael Sgan Cohen, display a more shamanistic orientation. A special section is reserved for photographs centered on the artist’s body by such artists as Barry Frydlender, Simcha Shirman, Boaz Tal, Micha Kirshner, and Avi Ganor.  At the Markus B. Mizne Gallery, Gabrielle Rich Wing, are shown artists who graduated the Midrasha State Painting Teachers’ Training Collegebut also includes Deganit Berest, a graduate of the Bezalel Academy of Art and Design, Jerusalem, and Michael Druks, who studied at the Margoshinsky College of Painting. An emphasis is placed on the Bezalel art students’ revolt in the 1970s, and the students’ use of their bodies as part of the subversive tradition bequeathed by their teachers. The catalog contains essays by the Museum curators and an essay by Prof. Tamar Herman on Israeli society of the 1970s.