Adina's work emphasizes strong connection of art and non-structural ethics of behavior, and introduces it by activating audience's high levels of attention and consciousness.

After the second performance, "Birds" (June–July 1973), Adina received a warning letter from the directors on te Academy, informing that if she wants to continue to study she has to go back to conventional mediums.

At the Bezalel Academy (then in the center of Jerusalem, now on the Mount Scopus) Adina was focused on painting and studied conceptual art, which was becoming the most important approach in contemporary practice.

During the seventies she was interested mostly in new forms of communication art and her work was influenced by American happenings, Joseph Beuys, Tadeusz Kantor, Jerzy Grotowski, the new theater (as defined by Michael Kirby), Vito Acconci.

Bar-On found inspiration for her aesthetics in film, precisely in Giulietta Masina's actors work, as well as in the new manner introduced by Fellini, Antonioni and Godard of seeing film-life (art-life) relationship problem.

She was 23 years old when she decided to complete her academic diploma at the Bezalel despite the professors' "advice" to quit making performances, and she prepared a special, highly conceptual photographic work (black and white photographs of her color, post-expressionist paintings hung on the walls of a middle class conservative Israeli living room of her mother's house).

[5] An incident of being mistaken for a mentally ill by Academy professors (other artists, see: section "Controversy"), showed Bar-On that her performance was indeed touching a deep level of human psyche of the audience and caused an aesthetic shock of a certain kind.

[6] In this performance was prepared in collaboration with Ronit Land (Israeli dancer and choreographer, disciple of Merce Cunningham and Anna Halprin) [7] as movement consultant.

Musical part of the performance involved early computer-based composition (using 3 connected synthesiser) composed by Yossi Marchaim and wordless vocalization of Adina and Robert Flantz.

Laszlo Beke (director of Research Institute of Art History, Hungarian Academy of Science) wrote on "Sacrifice": "At the beginning after an intensive internal meditation she faced the audience (or one of its members) and waited, doing nothing, until this nothing ("tense nothing") became nearly unendurable.

In the Shopping Mall, Opera House Tel Aviv Performing Arts Center and Central Bus Station suspended in a vertical elevated bed, way above the heads of passers by, I move as if in a state of sleep.

[10] In About Love (close to previous "Vision") the performer was the creator of the image, and at the same time emanating certain "aura", direct communication with the audience, often felt as intervention in an intimate level of viewer's psyche, although he/she was a stranger or a passer-by.

"[12] (lacking description) This site-specific performance is structured to be a journey or a walk through urban space, where Bar-On, dressed in red, is a guide or a leader.

Playing with this motif of a woman leadership and multiple meanings of space when observed through artist's eyes, mostly the borders, no-mans land's, areas of former conflicts or places of "hidden history" to be revealed.

"Dispositions" were performed in Nachshon, Israel; Hong-Kong; Quimper, France; Helsinki, Finland; Toronto, Canada; Belfast, Northern Ireland, Oswiecim (city of Auschwitz) and Lublin, Poland.

Making performances for no more than 30 people, she focused on building strong mental contact with each spectator/witness through all channels of human expression, but now transgressing symbolism and conceptual methods.

[13] To create new performances in the mid-2010s, Bar-On merged everyday life situation with social symbolism, religious iconography, dream visions and mass media images.

From this time Israeli and Palestinian dialogue is often a subject of the artist's work, as well as is Bar-On's own private life themes which are transported into performance art; ex.

widows of the war on both sides of the conflict - Adina Bar-On's husband, Daniel Davis, died of brain tumour caused by military service in the Israeli Army.

Early in her career Adina Bar-On started to teach and worked on various art educational projects focused on the language of visual communication and live-art.

During the years of teaching about visual communication, Bar-On managed to contact young artists of different sensitivity and working on future aesthetics of a new era.