Ilya Rabinovich (artist)

[6] From 1993 to 1996, Rabinovich created a series of typological photography projects under the title 'Works coordinated in advance,' which portrayed the interiors of public institutions, including museums, psychiatric hospitals, and schools.

Curator Marianne Brouwer deems that Rabinovich's technique conjures a deep understanding of estrangement and exclusion, capturing the essence of exile as an external and internal condition and distinguishing his work from other postmodern photography patterns.

[12] Serguei Alex Oushakine [13] from Princeton University wrote in Ab Imperio: “It offers us an important glimpse into a process of active manufacturing of the past by tracing a dizzying transition from "a Communist monoculture" to the chaotic Bricolage of post-Communism….

“These photos are as informative as they are dispassionate and distant… to convey a sense of documentary objectivity, the photographer heavily relies on front- and three-quarters shots that present museums' interiors with almost anatomic precision.” “It is precisely this conflation, this amalgamation of two planes, that makes Rabinovich's project both interesting and important.

The two planes are brought together by their profound embeddedness in the operation of historical erasure...” Ludmila D. Cojocaru, Moldova State University, wrote in Romanian Cultural History Review:[14] “The well crafted design of the book and the sensitive approach of this art-project can serve, … both as source for new knowledge accretion as well as a resource for building new studies.” In a solo exhibition in The Israeli Center for Digital Art (Hebrew Wikipedia), Holon, Israel, Rabinovich focuses on nine of Israel's military museums.

[16] Noa Roei suggests that Rabinovich's work exposes the tensions between the undisguised historical narratives and the underlying contradictions, particularly in how these institutions manage the inclusion and exclusion of specific identities within the national discourse.