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E13 Traveling back and forth between Tel Aviv and global art centers of the East and West Coasts of the US, Sharabani may be regarded as caught in what Anne Ring Petersen describes as circular migration : "the migratory pattern of artists, who have chosen to be based in their home country but must live as globetrotters and engage with many different cultures and places in order to pursue international careers." 4 Notably, Sharabani's international career as a media artist involves close trans-Atlantic collaborations with his two brothers, one of whom works in media in New York, the other in the cyber-tech world of Palo Alto, California. Together, this triad brings to mind Nicolas Bourriaud's discussion of contemporary aesthetics through the botanical metaphor of radicant. In The Radicant , 5 Bourriaud conceptualizes the subjects of our times through the botanical differentiation between radical and radicant patterns of rooting. "Radicant" designates, for Bourriaud, "an organism that grows its roots and adds new ones as it advances," whereas the radical plant depends on a central root, deep-seated in nourishing soil. 6 Radicantity , as inflected by Bourriaud, thus implies "a multitude of simultaneous or successive enrootings." 7 Conceiving of Israeli art as essentially and foundationally radicant helps reveal a key dimension of Ullman's perforated sand tables, earth sculptures, and pits dug in the ground, all of which tap into the precariousness of being rooted in ground and place. The present exhibition brings into conjunction Ullman's and Sharabani's earth-aesthetics in this critical frame. In Sharabani's case, virtual simulations projected onto sand tables are at stake, as well as the hitherto unexhibited series, Virtual Territories , which experiment with Google Earth images. The intergenerational encounter, taking place through the unstable medium of sand, brings into focus the poetics and problematics of ground, place, and memory in Israeli art. Card (2014): Micha Ullman, seen through Sharabani ' s Lens Card (2014; figure 1, see p. 12) is a single-channel video by Sharabani, depicting Ullman in the process of preparing an earth installation at the Umm el-Fahm art gallery. Ullman seems absorbed in a strange ritual dance, which he performs to the grating sound of earth-crumbs crunching under his feet. The video image has been duplicated and then flipped, producing 4 Petersen, Anne Ring. 2017. Migration into Art: Transcultural Identities and Art-making in a Globalised World . Manchester: Manchester University Press. Kindle location 2423 of 6382. 5 Bourriaud, Nicolas. 2010. The Radicant . New York: Lukas & Sternberg. 6 Ibid., 22. 7 Ibid.