Nir Evron's work features a movie camera's traveling shot along a track, as it revolves 360 degrees inside the frame of a building. The structure itself was once meant to be the summer palace of Jordan's King Hussein. Its construction was begun before the Six Day War in territory that was then under Jordanian control and afterwards halted with the outbreak of hostilities and occupation of the area by Israel. Evron made the movie without the help of a cameraman, using a robotic camera whose movement was preprogrammed and the duration of whose activity was determined by the length of the film. The movie reconstructs an interim space, detached from the ideological conditionings marking it in the framework of the Israeli-Palestinian conflict. The fact that the camera is not manned by anyone points to a spatiality which for the time being we are unable to inhabit.
About this work by Nir Evron, Mark Godfrey writes: "Through its elaborate structures, the film produces another way of seeing and thinking about the space in which it is set […] we are invited to loosen our ways of looking at architecture and landscape, to turn our way of looking on its head. The invitation and utopianism of this work is the idea that this looking might mean thinking about the city and its future in completely new ways."
 Mike Godfrey, On Nir Evron's Work, exhibition catalog of "Aftermath," Center for Contemporary Art, Tel Aviv, 2011, p.16.