M.K.: I understand what you mean. If you take the sculpture that you have in the Jewish Museum in Berlin, people can say like this: «I can hear the train to the concentration camp when you walk on it, because the iron is hitting iron», However, when I had it exhibited with about 3000 pieces in Kamakura in Japan, in a very ancient Japanese city, it had a completely different contextual meaning (figs. 20, 21).

I was there at the Museum of Modern Art with my friend, the artist Dani Karawan. We had a canal around the museum and I placed floating heads on the water. I carved them from wood. Inside of the museum there was a big window and I placed about 2000 heads wrought in iron on the floor, so you could see from those heads through the window to the wooden pieces. In the middle of the water Dani Karawan planted a cactus. Anyhow, in all my life I never did what they call «site-specific» art, because I wanted to realize an idea and not provide a place with mere decoration, however critical that might be, to a place. The idea leads to a work that takes on another shape, even another meaning when it is embedded in the specific situation of different places, with all their historicity of course.