"All three stages of the photographic cycle Glass show the glass booth used to isolate and protect Adolf Eichmann during his trial in Jerusalem in 1961. The bulletproof booth, made from plain veneer wooden panels and glass, shaped as a
trapezoid the size of a (sitting) man was photographed here– (for the first time)–from the inside.
Glass has three stages of rendering this object-image: The first, Glass I, is comprised of two identical units of the same photograph, reversed as if through a mirror reflection. This stage serves as a singular template from which the
subsequent two stages of the cycle derive.
The second stage Glass II, is a singular superimposition print of the two Glass I images inverted one on top of the other in mirror relations. As an outcome of this merging, the contours of the booths upper part tremble and blur allowing a bright stain to appear roughly where the knees would have rubbed against the narrow wooden edge.
As a consequence of the merging of the two photographs into one (seemingly simulating the brain’s process of binocular disparities to yield depth perception) the stain “appears” like a figure, a phantom.
The third and final stage, Glass III, is a black and white version of Glass II. It takes the evidence of Glass II and seals it post factum as a “documentary” image, equal in its status to
photographs from the historical trial event.
It unifies the image to one surface from which a “figure”, as in the carpet, comes out: the stain.
The booth marks the border, the distribution of roles and gaze relations in the trial. It was designed especially for the trial (and remained unused when it ended, like a prop for a play) as part of the overall theatrical design of the auditorium at Jerusalem’s Beit Ha’am (Civic House).
Glass’s point of view from within the glass booth is also approximately where Eichmann’s gaze would have met that of the survivors-witnesses, had looked at them (Hannah Arendt noted that he did not face the audience even once…)"
Glass I, The first stage, [one copy only/unique], is comprised of two different takes/ prints from inside the glass booth. In one take the Focal point is one on the glass, in the other on the source of light.

Glass II is the second stage in a three stages photograph-into-image progression. In each stage different subtle 'symptoms' appear / disappear. In the background of the new image exists the iconic black and white image of the object in function before its transition from a banal 'fact' into an iconic artifact. It has its own right as a remnant of a remnant of a crime scene. The progression plays a kind of forensic test.
Glass II was constructed by superimposing two takes one over the other, left to right, right to left. The outcome of this gesture is the somewhat shaky/blurred contours of the booth and the 'emergence' of a Rorschach stain at the center of the wooden part of the booth that accentuates a previously detected bleached spot on the wooden panel [center, knee area].
Glass III is taking this post factum 'new evidence' kind of image and sealing it/ packing it once again as a black and white "documentary" image [in respect to the iconic photograph of the historical event] unifies again image 'surface' [figure In the carpet kind of effect].