In Tsabar’s photographic series Untitled (2012–ongoing), the act of piercing the wall is quite explicitly explored. The photographs features the artist and her partner piercing a white wall with various body parts through holes that seem tailored to their anatomy. This series speaks directly to female empowerment and the ability to inhabit a void that Tsabar usurps. The freedom to enter what might loosely be considered a “glory hole,” has been in-herited by men through a long history of patriarchy. Tsabar seizes the power to dominate the wall cavity, a space she returns to again and again in her works. The cavity here represents, perhaps, “real- ness”—it’s where sound isn’t muffled, where the unseen truth lies.

Segment from “Turing Sound into Space: The Art of Naama Tsabar” by Chen Tamir