'Fig,' invites us to question by simultaneously revealing and concealing. Despite its simplicity, it holds a peculiar and archaic quality, almost primal in its iconography. The traditional fig leaf, symbolizing the first-ever form of concealment, is uncovered through a covered surface. The relationship between content and form, container and contained, is inverted, highlighting their full interdependence. The drywall sheets supporting this image, remnants of temporary walls, signify a departure from previous concepts of Jewishness, which were often contingent and hyphenated. At its core is the depiction of a fig leaf, outlined against lush green textures, creating a negative space on an unprimed canvas. Upon closer inspection, it becomes clear that 'Fig' is not a painting but a digital photo of a canvas in the artist's studio, with the leaf partly filled with a grey, leathery texture that also covers the studio's gridded floor tiles. Fig, is also the common abbreviation of “figure,” from the Latin figura, form or shape. The shapeless space is shaped through negation – through sleight of hand, it becomes a figure.