Michal Heiman lives and works in Tel-Aviv, Israel. She teaches art and critical studies. She has incorporated psychological tests in her art over the last ten years and has created her own versions of the tests which have themselves become works of art (Michal Heiman Test at Documenta X, 1997). Over the last ten years, Heiman has continued to depict her understanding of the intimate tie that exists between art, psychology, therapy, and politics by aesthetically addressing different conflicts among them the Israeli-Palestinian conflict. She has had many solo and group exhibitions and has gained an impressive reputation on the local as well as the international art scene. Heiman is using photography as part of a rich creative arsenal, thus extending its boundaries both in form and in content. In her last Solo exhibition Photo Rape (2002), Heiman's ongoing preoccupation with the status of photography as an exploitative medium reaches a culmination of sorts. Heiman deals with photography as something that exists within the power relations of photographer-photographed, in an evil cycle of mutual gazes saturated with blindness, photography that declares itself as having a blind spot vis-à-vis its objects and does not abhor women and children. Her manner of adopting the photographer's identity by using ready-made photographs (which she categorizes by personal archival codes, mostly different from the origin's intention) reveals a mentality of identification, of seizing another person's gaze in order to critically comment on it. Such a comment is made possible through diversions of attention and changes of focus, through titles that "put words in the mouth". Thus Heiman creates the "archives of blindness", which reveal the regions of oblivion to which the photographed women are destined, and in doing so actually creates a memory for them. The exhibition seems to demand that its viewers classify themselves as either regulators or regulated, but at the same time it does not enable such a binary classification and even contradicts it. Therefore, it also exists as the sinister shadow of photography which is different from it – the uncritical, domestic, institutional photography, amateur photography. The spectator is like a shadow that accompanies the exhibition, a menace to it, like a detective who might reveal its identity, know "what's on its mind". In her last work (October 2004) What's on your mind? – Michal Heiman Test No. 3 at the Acre Fringe Theatre Festival she explores the psychological processes involved in reading and interpreting art. This time Heiman has expanded the number of participants in each test, has replaced the still photographs will video works and has transformed the test into a kind of theater with many participants – "group therapy," in professional terms.