Threads and nails, ballet shoes, a military tent, beads and toys – these are but some of the elements that compose Ronit Agassi’s installations, which are at once nostalgic and ominous. In a film screened at the entrance to the exhibition, curator Yona Fischer resembles the tenant in Ionesco’s absurdist play that inspired the exhibition’s name, and which is evoked by the accumulation of objects filling the artist’s works. In his dual role as tenant and curator, Fischer can be seen pointing out undefined places, attempting to dictate to an unseen figure where to place the objects piling up in the gallery space, struggling to create order out of chaos. But perhaps it is really the artist herself who is “the new tenant,” her use of domestic items to evoke a sense of longing for a lost home alluding in fact to a familiar metaphor in contemporary art? The exhibition catalogue comprises a rich album of photographs of the artist’s installations – including close-ups of the works and installation shots – as well as reflections about the exhibition by the curators and reflections after the exhibition by historian Moshe Zuckermann.