Hila Lulu Lin

[2] Until Lin, in Israeli art, it was rare to deal with internal organs of body or connect them to architecture or transformation processes as they performed.

Her first solo, "The Voice of the Right" (1992), Lin presented sculptural objects made of various items, it was not conventional leave, but rather interrupting breaks between organic and synthetic, concrete and fictional, pleasurable and delightful.

In "No More Tears" (1994), video work which was shown in the exhibition "Metasex 94: Identity, Body and Sexuality" (1994) sensuously expressed the experience of female embodiment in an erotic way.

[3] At that time, Lin refused to give any interpretation to her work, and insisted on her right of movement and definition of identity without belonging to any art group.

[2] Nevertheless, she was characterized as: "A provocative challenge to the limited notion of women as mothers and nurturers, this sensuous back-and-forth demonstrated an embodied continuity between inside and outside, linking the passions and pleasures of food with those of sex.