In 1973, during my third year at Bezalel Academy of Art and Design, in the context of my own society, which was with the sustenance of the military, and an academy dominated by male teachers, I became intrigued with creating events which will legitimize sentimentalities that are neither national or religious, and make them visible.

In the Spring of 1973, I organized a wedding, at the old Bezalel Academy building. While this was not yet the performances and actions I will soon make, I placed most of my attention into forming my strategy on behavior whose purpose was to motivate the wedding guests, first, emotionally, and then, in their own actions, in an engaged manner, in the celebration.

Later in that year, I posted a notice around the central spaces of Bezalel academy, of a smiling portrait, of myself, printed in black and white, in silk-screen. It specified a place, a date, and an hour of meeting, but did not include any information as to the nature of the gathering. My premonition, which did prove right, was that my amiable and recognized face will be enough of a temptation to adhere to the invitation. In the context of my art studies and work, with this printed notice I had achieved my first step in visual and a social transmission; I had now become engaged in a new medium in which the stimulation of one`s independent attitudes, in behavior, will become my visual and social art – “social sculpture” or “performance art”.