In an era of “room agriculture” and “guerrilla gardening”—which have given rise to a new “civilian” type of a city dweller who grows his own food at home, thereby cutting middleman and transport costs, enjoys maximum freshness, and avoids unwanted chemicals—Gal Weinstein proposes moldy “studio agriculture” of an artist who is locked up in his bubble, making a “landscape” in black coffee grounds. Jezreel Valley in the Dark, created by pouring black coffee into molds shaped as the Valley fields, subsequently converting the coffee with colored felt, generates an agricultural landscape constructed from an organic act involving “seeding,” expectation, and time. Weinstein corresponds primarily with himself and with his monumental works The Valley of Jezreel (2002), Huleh Valley (2005), and Nahalal (2009-10), which introduced iconic images of Zionist agricultural settlement in the Land of Israel. The transition from substances such as felt carpets, linoleum, and steel wool, from which the previous works were made, to growing rugs of organic mold, transforms the artist himself into a farmer of sorts, and agriculture—into a grand, all too heroic image requiring darkening and domestication to become feasible. Weinstein does not attempt to obscure the Valley, but rather to discuss it as the passive residue of a monumental image, an incarnation of an artistic biography and coffee stains. At the same time, the large coffee circles create a deep, dark cosmology which may be read as both earth and heaven at the same time.