In a layout that simulates an isometric projection, Adi Weitzman places at the center of her exhibition an object devoid of character—its facets share no points of convergence and are scattered in the space in a manner that makes it difficult to extract any distinct spatial or functional representation. Consequently, all that remains to hold onto is a vague sensation that in just a brief moment, its parts will come to their senses and coalesce into a reality. As is typical in her practice, here too Weitzman employs basic formal components and a lean aesthetic of straight lines and right angles—coordinates for establishing a fiction grounded in anecdotes of disconnection and emptying.

The object originates from a family chest carved in wood, the facade of which Weitzman dismantled and cast in plaster. The reduction of the piece of furniture to a single panel cannot help but raise doubts about the viability of a fragment to serve as evidence for historical-biographical reconstruction, or whether it will forever be perceived as a potential memory of an existence hinted at precisely by its absence.

The blurring of the traces of use and the scouring of the signs of time from the surface of the chest, let alone the realization of family sentiment in a generic material such as plaster, may not be a contradictory phenomenon to Bertolt Brecht’s declaration in his poetry collection Emigrant Poems: "Of all the works of man I like best those which have been used...", but rather its validation by way of negation. Within the mausoleum that Weitzman has constructed for a limited time in the gallery space, it is not only the transience of the structure of burial and worship that stands in contradiction to its essence as an eternal preserver of memory and emotion, but also, and perhaps primarily, the visual tools used for its illustration. The false aesthetic she employs through components such as a facade, a stencil, and a pilaster (a column-like architectural element or decorative feature that helps maintain symmetry and rhythm) resists appearances, while simultaneously inviting potential memory to serve as an anchor to hold onto.