The imprint of the personal-female body in the self-portrait from the series Body Art in Cup Phylacteries (1979) is rooted in a conceptual artistic approach. As a young artist forming her feminist identity and language, Dorit Feldman created a sculptural object woven from black-and-white photographs of delicate porcelain cups (from the artist's family collection), which she wore on her body as straps of female phylacteries. The binding-bond alluded, on the one hand, to her mother's strict (yekke) cultural heritage, and on the other—to her father's custom of praying in phylacteries. The scene's staging and documentation touched upon ritual concepts of sanctity and profanity, while referring to the dichotomy of female/male roles. Rather than being directed at the viewer, the eyes are stealthily indrawn. The movement of the body in the attached segments is fine and consciously protective, concealing and revealing, yet not defiant.