The work was created in both a spatial and temporally specific context – in 2024 in Germany, in the premises of an ironworks where, among others, weapons were secretly manufactured during World War II.

At the time of the creation of the work, we witnessed the largest global armament since World War II. Since the indiscriminate Israeli bombing of the Palestinian territories was taking place at that time, the German state not only tolerated the aggression and even supported it with weapons and political means, but also trivialized any criticism of the aggression and easily labeled it as anti-Semitism.

With a combination of destructive technique and a statement of solidarity, the work reflected the state of general civilizational anesthesia. On the destroyed wall, a pointillist inscription is visible: I can not even think about art.

The work was created as part of the Urban Arts Biennial.