In her article “Agrippa versus Nimrod” (1988), Sarah Breitberg-Semel presented Aroch's work as a model for the design of a new Israeli concept. In her article she attacked the canonical concept in the research literature on the history of Israeli art, with regard to “Nimrod” (1939) by Itzhak Danziger, that saw in it the exclusive representative of Jewish nationalism. “Agripas Street” was put forward by her as a more worthy alternative as a work that combines “Jewish” values with Zionist values.[10]