This multimedia exhibition exploring the creative activities of Israeli dancer, choreographer, and textile artist Noa Eshkol (1924–2007) consisted of a fivechannel film installation and a series of photographs capturing spherical models of the Eshkol-Wachman Movement Notation system, along with a selection of Eshkol’s carpets, scores, and drawings as well as other archival materials. The films show dancers performing Eshkol’s choreography with backdrops consisting of her carpets affixed to free-standing wall sections. In sync with the composition of the stage design in the films, Escher and GuneWardena’s design of the exhibition employed freestanding large-scale wall sections for the screening of the films, although vertical rather than horizontal as in the films. These were positioned at seemingly random angles to one another so as to mobilize the slowly moving onlookers in relation to the body movements of the dancers. Interspersed were the archival materials on display in sculptural and strictly geometric vitrines. Whereas the relationships between the different components in the Lunch Break exhibition in Maine underscored chance  and unpredictability to encourage subjective experiential encounters, the installation of Sharon Lockhart | Noa Eshkol emphasized form through a rigorous and interrelated choreography even though the configuration of the freestanding walls, vitrines, and horizontal volumes varied slightly at each exhibition venue. In effect, and perhaps most importantly, the installation design not only displayed the exhibited work but created a relationship between the two artists: a virtual encounter between Lockhart, a strict and exacting photographer and filmmaker, and the minimalist and systematic choreographer Eshkol, both of whom are and were committed to frequently unseen visual practices. By wandering through this creative conversation between two artists at decidedly different historical moments and geographic locations, the viewer engaged with both, aided by resemblance and repetition of spatial components.

Whereas the relationships between the different components in the Lunch Break exhibition in Maine underscored chance  and unpredictability to encourage subjective experiential encounters, the installation of Sharon Lockhart | Noa Eshkol emphasized form through a rigorous and interrelated choreography even though the configuration of the freestanding walls, vitrines, and horizontal volumes varied slightly at each exhibition venue. In effect, and perhaps most importantly, the installation design not only displayed the exhibited work but created a relationship between the two artists: a virtual encounter between Lockhart, a strict and exacting photographer and filmmaker, and the minimalist and systematic choreographer Eshkol, both of whom are and were committed to frequently unseen visual practices. By wandering through this creative conversation between two artists at decidedly different historical moments and geographic locations, the viewer engaged with both, aided by resemblance and repetition of spatial components.