Ma unfolds as a body of work, a palimpsest of Laufer's four-year-old daughter's drawings. Through an elaborate process, Laufer deliberately decelerates image-making, transforming swift gestures into intricate renditions. The series explores the visual language of infancy, mapping the transition from abstraction to figurative expression. Beyond artistic evolution, Ma scrutinizes the symbiotic mother-child relationship, investigating possibilities, boundaries, and the dynamics of inspiration and relationships in terms of proximity and distance.

Located in a vocational school in Berlin, this floor piece captures the transitory presence of students by regularly marking the random arrangement of chairs in the lounge area at the end of the day. Over time, this has evolved into a multilayered line pattern that was eventually transformed into a non-sequential flat image, recording movement and time, absence, and presence.

A group of drawings coincidently found in an archive is an important historical document that evoke the psyche of the second and third generation Holocaust survivors; It reveals the intergenerational trauma and an attempt to process it. Framing was created to be displayed in Germany, where Nazi symbols are illegal unless used in an educational context. Accordingly, Framing questions the possibilities and limits of education and commemoration.

Luck / O Lord originates from a Warsaw convenience store snapshot, exploring the "Lucky Jew" figurines in Poland. A photo and poem were shared with musicians and animators for diverse interpretations. The seemingly innocent dolls provoke intense speculation, prompting varied readings through female/male, young/old, and traditional Poles/Jews binaries. The poem, resembling a wooing monologue, engages in a self-reflective dialogue with other poetic works. The resulting 50-minute musical exploration, Luck / O Lord, led to a dynamic 3-hour discussion with experts in antisemitism, anthropology, museum education, and tourism.

Born from a serendipitous encounter between a heavily pregnant Laufer and a 100-year-old Erez, Eine coole Socke delves into the interconnected biographies of the two. For the preceding eleven years, both lived just 500 meters apart from their respective childhood homes—now swapped. Set against the backdrop of sweeping changes in 1920s Berlin and the utopian Kibbutz of the 1980s, it explores memories, enduring connections, and the complex tapestry of their shared and often contradictory childhood experiences.

Inspired by the head-coverings worn by wealthy European men in the privacy of their 17th and 18th-century homes, Undress Cap extracts these headdresses from their original context. Portrayed as objects reminiscent of the traditional still life genre, these head-coverings served as substitutes for formal wigs worn outdoors, offering protection to shaved heads from chills and disease. The headdress, blurring the boundaries between inner and outer space, resists clear classification despite its associations with gender and societal positioning. Thus, the subject of the work embraces an ambiguity, bordering on the absurd.

Harmless at first glance, Heavy Curtain reveals deeper, painful layers. A collage of motifs from children's drawings found in the archives of Kibbutz Hazorea, Israel, it captures the poignant truths of second-graders during the Israeli Holocaust Commemoration Day in the mid-1980s. The curtain frames the inner worlds of these children, exposing their visual vocabularies and shaping worldviews. Stars become Stars of David, smiles accompany presumed death, and swastikas recur. This curtain, both private and theatrical, underscores the challenges of remembrance and education for the 'third generation,' blurring the lines between truth and fiction.

Serving as a commentary on a project held at the Jewish Museum Berlin, involving artists from diverse backgrounds, including recent refugees. Throughout the yearlong weekly sessions, the artists—hailing from Syria, Iraq, Kurdistan, Israel, Germany, Spain, and France—never explicitly discussed their backgrounds, nor acknowledged the unique opportunity provided by the Jewish Museum for their meetings and exhibition space. However, this awareness lingered as an unspoken 'elephant in the room.'

This fictional audio guide unfolds the lives of Thessalonikians, offering alternative ways to experience the city. Based on historical documents and interviews, it mixes fragmented narratives, elusive instructions, and poetic observations with melancholic and popular Israeli songs based on the Greek repertoire. Familiar and alienated at once, it captures the essence of a world left behind.

Utilizing fragments from YouTube clips—live performances, official videos, stills, and fan interpretations—the project meticulously composes an immersive audiovisual collage. From early 20th-century 'classics' to contemporary trash-pop, PLAYBACK spans Greek and Israeli songs, merging melodies with divergent lyrical interpretations. As songs disintegrate and converge, PLAYBACK blurs cultural boundaries, celebrating the musical synergy between Greeks and Israelis in a unique Karaoke experience.

An illustrated short story, drawn exclusively from 'Shomeret' diary entries in the Archives of Kibbutz Hazorea, The Guardian / Sycamore Group offers a unique window into 1970s children's homes. In a small room, the Shomeret, a random female caretaker on week-long night shifts, awaits calls from children in need—whether sick, sad, bullied, or troubled by a bad dream. Tending to them alone, she documents her experiences in a shared diary. The Guardian / Sycamore Group serves as a collage of various caretakers over months, presenting the often unheard voice of the Shomeret while simultaneously revealing the loneliness and desperation of both the children and the caretakers.

Laufer's installation in the Spuren, Hohlräume Leerstellen series on Kurfürstendamm pays homage to fashion illustrator Lieselotte Friedländer, showcasing her drawings at their original locations. While capturing the essence of Berlin's vibrant 1920s, Laufer also underscores the impact of the subsequent Nazi regime. Fired at the height of her career for being a "quarter-Jew," Friedländer survived through odd jobs, returning to West Berlin in 1949. Struggling to revive her career, she faced impoverishment and remained largely forgotten until her death in 1973.

Laufer's "Meine Geschichte" is an artist book that reimagines passages from Fanny Lewald's 19th-century autobiography, "Meine Lebensgeschichte" (My Life Story), creating a new novelette. Using Lewald's original text as a unique source, Laufer cuts and rearranges passages to form an ensemble of annotated quotes, engaging in an obsessive dialogue with its source. The resulting novelette weaves through layers of life experience and time, offering a rhythmic portrayal of a moody 30-year-old woman.

Addressing the tradition of the British landscape and painting en plein air, directly from nature, Carbon Footprints departs from John Constable’s reproductions. Tracing Constable’s marks – arguably the foremost figure in the genre – echoes the romantic notion of artistic journeying in nature and the British wilderness. The sense of discovery, excitement, and grandeur is experienced from the comfort of the indoors.

"Being Cindy Sherman" is a photo series that pays homage to Cindy Sherman's iconic "Untitled Film Stills." Laufer steps into Sherman's shoes, intertwining herself with the essence of Sherman's original stills. Just as Sherman playfully portrayed an actress in a film, Laufer pretends to be Sherman pretending to be an actress. Laufer Laufer enters into an open-ended dialogue about authenticity, artistic creation, identity, authorship and mentorship.