The artwork above is “Sedar” created by Nicole Eisenman in 2010. This work constitutes conceptual art because it takes a traditional idea and presenting it in a fashion that take precedence over traditional aesthetic. The painting depicts a family Passover gathering. At the bottom centered was a pair of fleshly pink hands in a similar fashion to the two grotesque individuals in a distorted manner. In an interview, Eisenman reveals that the hands are those of her father, sitting at the closed end of the table, while her mother sits at the other end. From my point of view, the hands also acted as “our” hands. It is an invitation to be a part of this ritual or maybe even of the family. This artwork is a mimesis as it imitates a realistic event through an unconventional form. The members of the artist’s family are painted with experimental shades such as gray or orange for skin color. There are the imaginary figures, who as aforementioned are more monstrous with a sense of affection and humor at the same time. The medium was oil on canvas and Eisenman took advantage of it to play with the textures and colors in this painting. As the figures get closer to the viewer, the texture of the painting changes. The brilliant colors and skillfully portrayed faces become dissonant. Sloppy paint strokes are trickling from the hair with disfigured eyes. Despite the disturbing turn, we can sense familiarity from the open bottles of wine, half-eaten platter at the center of the table with bitter herbs, charoset, charred egg, lamb bone, and orange, and of course, the Haggadot. We would typically imagine enjoyment and pleasure as this group of dinner guests drink and socialize. However, this painting illustrates a different range of feelings in the room. Some people might be engaged and attentive while others look withdrawn or bored. Not to mention the detail with “our” hands that are breaking matzah during the reading of the Haggadah. Though the message is not political, it builds the idea of loneliness, boredom, and awkwardness that can be felt when surrounded by relatives. It denies any form of desire. The distorted contrasted with the charming expresses interest and boredom and portrays a familiar dinner scene with family in a bold way. Sedar’s material expression of Eisenman’s concept effectively captures both a physical and emotional portrait of the people in her paintings. The material allows her to manipulate a change of emotions and create drastic differences between the figures.