Given the content of her works and the context in which they are made, the exhibition possesses a political charge. Oasis is itself a multivalent word, and also serves as the title of one of the pieces in the exhibition, one which exemplifies the layers of meaning built into all of the artist’s works. Featuring an image of a copper sun flanked by two green palm trees, silkscreened onto a ground of white tiles, Oasis (2014) is a deceptively spare piece. It is inspired by a triumphal arch built by Saddam Hussein in 1989, commemorating his leading of Iraq to victory in its war with Iran. Unlike Hussein’s arch, however, Stern’s offers no passage beneath. Further, it is composed of tiles that resemble those covering Israeli apartment housing projects from the 1970s, and features motifs as common to Israel and other warm weather climes worldwide as they are to Iraq. Such a blending of references—to the safety and comfort of home, notions of paradise, or the terror of war and power—reflect the way that even the most iconic images become altered over time and space, and, sometimes, are stripped of their power.