A table, a leg, a column, and various other components in their syntactic, physical, and metaphorical embodiments, can serve as an impromptu key to the extensive inventory of Dorit Figovich Goddard's dependents/attachments. The artist, who examines routine arrangements between support and supported, and how this inherited array translates into subject-object-space relations, extricates the 'dependent' (Nesmach) from the arbitrary framework of bound constructs and positions it as a singular subject in her title. This choice is no hollow gesture; as in the dismantling of any cohesive semantic phrase—even in its practical manifestation as a tool for syntactic analysis—the 'modifier/supporter' (Somech), as both a linguistic foundation and a conceptual anchor, exists even in its absence.

Thus, Figovich Goddard sets out to erode the architectural decisiveness of a load-bearing column—an impressive dependent in its own right—which in her work transforms into the leg of a table that doubts its own stuttering "tableness" and ponders its purpose as a support: for food, for work, or perhaps for writing in Marguerite Duras’s alcove, she who was the dependent of Robert Antelme... Chad Gadya. Does the ambiguity of the dependent’s distinct purpose, the multiplicity of its tasks, or its dual interpretation as alternately leaning and providing support, somewhat blunt its characteristics as a validator of meaning and content? Perhaps. Alternatively, it might serve as a modest paraphrase of the problem posed by Georges Perec in his book Species of Spaces and Other Pieces: "When in a given room, you change the position of the bed, can you say that you are changing rooms, or what?".

Within the exhibition space, Figovich Goddard's pictorial bed defines its corner as an ideal reflection of a liminal-egalitarian existence, while the multiplicity of legs echoes, in her words, the Riddle of the Sphinx, whose solution by Oedipus rid the city of Thebes from siege and plague. Either way, the heresy of the bed, the table, the leg, and the column against their syntactic role, poetic meaning, and practical purpose not only enables a fluid spatial representation but strictly refuses to view them as a decree of fate.