In the video Leone Helena a funeral procession departs from South Tel Aviv toward the Helena Rubinstein Pavilion. The Subaru enters the exhibition level, where the monument is unloaded with great awe and reverence. The journey concludes when the phallic archetype is lifted to the wooden gallery built for it, designed to replicate Mordechay’s elevated work gallery in the carpentry shop. The construction of the gallery in the museum was performed as a parasitic process, a leechlike “non-space.” It clings to heights and void. Narrow and modest in size, it can only accommodate a small number of visitors. While the art gallery is a space closed for display, the domestic gallery rises upward to exploit the space fully, and may function as a bedroom, a storeroom, or a work space. It is the invisible room — the behind-the-scenes, the studio. Mordechay’s gallery has an intimate quality derived from the home gallery, yet its essence is artistic. The finger’s high position throughout the journey embodies psychoanalytical and symbolic meaning: from a formal, corporeal object, its light hovering seems to become an illusive fragment originating in the subconscious. Its massiveness is a metaphor for the burden and weight of the higher consciousness. In the elevated gallery, parallel to the floor, which is the level of the alter-ego, the finger’s excess spiritual baggage is set free, continuing its voyage to the heavens.