Guy Raz's manifests the convergence of the autobiographical dimension with the historical and social dimension, through the accurate identification of a single image containing the two axes. The personal involvement of Raz in the history of Israeli settlement, and in the surroundings where he grew up, accords the iconography of local art a significant latitude of discussion which has been sorely missing in recent years: Raz places before the Israeli viewer fundamental images originating in local history and memory, and raises the question concerning Israeli society's ability to use this memory charge as a living and relevant charge, having implications for the present.