The globalization leads to union of people and cultures into the general machinery and creates a large diffusion among the countries. WE all consume similar things. Plurality is the spirit of the language. The liberation or the global experience affords us this freedom, not only the ideology.To what extent do we preserve originality, or do we, rather, seek association and general identification? Do we search for self determination or do we aspire to a product that could successfully cope with criticism? Indeed, it is the ideology and cultural contents that forges the outlook, as well as the criteria of beauty and aesthetics. The global-locality blurs the boundaries.Contemporary art exhibits a double and paradoxical connection between the local and the universal. The Israeli narrative comes out against capitalist bourgeoisie, yet it adopts it too. The two narratives unfold a relationship: On the one hand they are absolutely Americans (the capitalist culture of the west), and on the other hand local Zionist narratives are merged into them.The exhibition displays a fabric of images reaching us from innumerable cultural contexts. There is no single monolithic structure, there is no specific genre and there is not one coherent identity according to which we create things. The local can no longer remain local, and thus creation is in fact confronted with a geo-political viewpoint on the one hand, and displays on the other hand anew Israeli angle, which is equated and associated with components of the modern industrial world The Pop-Art draws in principle on the capitalist culture and strives towards a new manner of establishing a connection while being familiar with the mechanism, and integrates works of art, the creation procedure of which is accompanied by the exposure and deconstruction of fundamental components, alongside well-known popular daily subject matters and cultural icons. The artist’s familiarity with the myths and symbols of diverse cultures, and the artistic means lead into creating fascinating connections, new interpretations allowing new practice with regard to the material which manifests itself in sometimes abstract expressiveness, modernity, typicality that always presents an aesthetic com positional array, which is made up of internal rules imparting a renewed aura to the image. The subjective choice of the artist thus captured in the world of contents and in the admiration of the beautiful and the sublime, in which he seeks the contexts among the forms,realizes in his unique language his desires and contents, and give scope for pathos. His stead as holding onto life itself, onto the raw materials of the creation and their processing, which is saturated with passion, vitality and sensuality – all those become merged in one act of creation. Walter Benjamin asserted that “in order to characterize the political orientation of a work of art, it is necessary to identify the position it occupies in its relations of production, as well as the stance it adopts towards those”. The exhibition displays a paradigm of two categories aspiring a synthesis:The one makes reference to the geographical location, materials, topics, myths and local nationalism, and the other gives expression to the wish to the universal, general – being off spring Do we present the connection between man and a territory? Or between men the culture he is exposed to? If that is so, the world of art has no boundaries, and the structure it exhibits is based upon the existence of a coherent mental structure that the collective mental structure has The exhibition presents a mix up of “here and there” out of an affinity that identifies what is here,as a new society extracting and detaching the Zionist principle from the geographical context and Does cultural resemblance provide insights and affect the subject’s imagination?that calls for inattentiveness and worships it.of the large world.elaborated.insists on being part of the western/global culture.