the place from which material and information were taken or to reveal hidden content or deviate from the agreed logic. In later photographs, the perspective expanded - it embraces an outside or an inside of space, looking horizontally or diagonally, in a way that draws inspiration from the catalog or police photography genre. In his solo exhibition "Concerns (חששות)" (2014), a flower presented as photographs taken randomly, documenting his daily life, events and scenes from the social and material environment in his life, thus forming a kind of personal visual biography of the artist. In the exhibition, he brought photographs of different times and types together - a kind of re-activation of the works through cross-language cross-word making and a matchmaking of photographs placed side by side as an unresolved puzzle. Despite his meticulous aesthetics, Farah's works transverse categories and undermine the boundaries between media, bodywork and performance, conceptual documentation and photography. Another feature of Farah's work is the cross-referencing between what is in the case and what is intentionally created. For example, in "Shelter 5-1" (2007), Farah was asked to take refuge in the building and prepare him for daily use. After the evacuation of the place and during its cleaning, one of the walls revealed the inscription "Palestine" apparently written by a Palestinian worker who was present at the site. In the framework of the work he painted the wall and painted it white while simultaneously documenting the process of doing all its stages. As part of his temporary invitation to work for the exhibition (2007), he was asked to return and reveal the inscription on the wall. The study raises questions such as the issue of the labor force in Israel in general and especially in the field of construction, and the fact that it is impossible to disconnect the political from the public sphere. Repairing model Bar'am is a fundamental experience for Farah, he testified that "I often start out as a simple cube, reminiscent of my grandfather's house." In his work, "A Model for Repair" (2010), Farah builds Bar’am on its ruins by models, etchings, various actions, video works and photographs, creating an imagined space that simultaneously coexists as memory and dream and as an explicit and practical proposal for return. Farah 's move joins a long list of community, private, artistic and legal projects initiated and initiators by the people of Kfar Bar’am in