The works in Heavy Heavenly Bodies suggest liminal encounters through blurred or hidden identities of forms, where many figures are forsaken but for ghosts. A family processes food under the image of the Doomsday Clock, a lone Jewish settler challenges Israeli security officers at the settlement of Amona (the painting is based on documentary photographer Oded Balilty’s Pulitzer Prize-winning image), and a line of women dressed in national flags reflect current international alliances.