TEL AVIV.- Moshe Gershuni (b. 1936), senior and excess baggage of Israeli modern art, extraordinary personality, a world unto himself. A mole perhaps, of modern art, stretching the boundaries of its language to stimulate its opposite. Gershuni’s artistic thought developed from a language crisis, from a strong sense of the collapse of the great culture of Europe – to which he is attached with bonds of love – in the formative event of the 20th century. As a result, he developed a language that is the product of distrust of language, of the interchange between the cultural and the barbarian, between the sacred and the profane. The 1980 Venice Biennale, at which Gershuni represented Israel, was a turning point in his work, followed by a rush of paintings executed squatting, smearing, with harsh and at times repulsive materiality, flowering with fragments of prayer from his schoolboy days in a religious school.