Meir Wigoder's account of photographing the Separation-Wall, in Israel-Palestine, over a period of three years, offers a critique of the very vigilant and testimonial activity of taking on such projects: Is it possible to de-materialize a wall through a political aesthetic activity? What is the difference between the photographic and the cinematic approaches to recording the construction of such a wall? What role does the vigilant photographer play in insisting on returning to the same locations over and over again? Such questions lead to larger moral, political, and social readings of the role that the wall plays in the Israeli-Palestinian conflict.

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