AN HOUR and a half into an interview with painter David Reeb on a sunny late July morning, an air-raid siren went off. The ushers at the Tel Aviv Museum, where Reeb’s new exhibition “48 60 300” is being displayed and the interview was conducted, hurried us politely from the gallery hall to the basement floor’s café. Other museum visitors also were gathering there, calmly waiting for the required 10-minute safety period to pass.

It was almost two weeks after Operation Protective Edge was launched to counter rocket fire from Gaza. With the success of the Iron Dome anti-rocket system alongside an alert mechanism that supplies residents of central Israel with a 90-second warning – long enough to find shelter – Tel Aviv seemed to have stepped into a bearable wartime routine.

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