Behringer (2015) presents itself at the threshold between painting and instrument, a wall-mounted construction in which wood, stretched canvas, electronics, cables, knobs, amplifier tubes, and speakers cohere into a single sculptural field. Naama Tsabar treats the picture plane not as a passive surface but as a live, functional body, one capable of producing and transmitting sound when activated. The physical dimensions, 130.8 by 153.7 by 15.2 centimeters, assert a presence scaled to the human figure, and the depth of the work insists on its occupation of real space rather than the illusionistic depths traditionally claimed by painting. Tsabar's practice consistently interrogates how architecture, the body, and sonic experience intersect, and Behringer distills these concerns into an object of striking formal economy. The exposed hardware, tubes, and wiring are not concealed but celebrated as compositional elements, lending the work an aesthetic that is simultaneously industrial and intimate. The canvas substrate carries the visual language of abstract painting while the embedded electronics reframe it as a membrane, a boundary between the visual and the auditory that the artist deliberately refuses to resolve. For a collector, this work operates across multiple registers, functioning as a commanding wall piece in any domestic or institutional setting while retaining its capacity for sonic activation. The signed work is offered through Páramo, and its combination of material rigor, conceptual depth, and participatory potential places it firmly within Tsabar's most significant body of production from this period.