Drawing, Installation, Territorial Imperative

In the same period, Neustein began an extensive and innovative drawing practice that continues today, amassing a large body of work that grew to include torn and folded works on paper, erasure drawings, magnetic "drawings", and the Carbon Paper or Carbon Copy Drawing series, in which formerly standard carbon copy paper is torn, folded, pressed, and scraped. Neustein participated in the landmark Beyond Drawing show at the Israel Museum in 1974, curated by Yona Fischer and Meira Perry Lehmann. In 1977, the Tel Aviv Museum mounted a ten-year retrospective of Neustein's works on paper, curated by Sarah Breitberg. In 1992, the Albright Knox mounted a solo show of Carbon Copy Drawings which travelled to the Grey Art Gallery at NYU. A solo show of his "magnetic drawings" were shown at Wynn Kramarsky Gallery in 1998.

Alongside his studio practice, Neustein has mounted large-scale installations throughout his career that often included quotidian objects such as hay bales, boots,^[10] pinecones, and rainwater, as well as monumental land art works. Neustein was among the first artists to introduce environmental and installation art into the Israeli art scene. Notable examples include Still Life, 1983, in which the life-size silhouette of an Israeli war plane was singed into the turf on the Israel-Lebanon border with burning tires.

In 1976, Neustein enacted Territorial Imperative, in which the artist documented a dog marking his territory along the Israeli-Syrian border in the Golan Heights, identifying spots the dog had marked with posters and maps. Neustein repeated the action in Belfast, Northern Ireland between the Catholic and Protestant neighborhoods (1977); in Kruså, Denmark, at the German/Danish border (1978); and near Kassel, Germany, along the East and West German border, as a participant in Documenta 6 (1977). Over curator Manfred Schneckenburger's objections, Neustein's work was "withdrawn" from Documenta, after the German government advised the artist that his piece caused "consternation among specialists" about what they described as the "complicated relationship between West Berlin and the German Democratic Republic."

Painting, Five Ash Cities and Venice Biennale

In the mid-1980s, Neustein produced maps painted on canvas and cardboard, or etched into rusted metal.

In the 1990s, Neustein returned to large-scale installation, with a series of environmental works he called the Five Ash Cities. He worked closely with Wendy Shafir, who was alternately his dealer, curator, and collaborator. The Ash Cities were immersive, room-sized relief maps of cities, constructed out of packed ashes that rested on the floor of the exhibition space. They often included crystal chandeliers installed to hang low to the ground, so they nearly touched the ash-covered floor. Ash Cities were realized at Southeastern Center for Contemporary Art, North Carolina; the Ujazdów Castle, Warsaw; moCa, Cleveland, curated by Jill Snyder; Bilder Sind Verboten at Martin Gropius-bau, Berlin, curated by Eckhart Gillen and Amnon Barzel; and the Herzliya Museum, curated by Wendy Shafir. In 1990, another chandelier work, How History Became Geography was exhibited at the Barbican Centre, London. Documentation was later shown by the Israel Museum.

How History Became Geography Joshua Neustein

In 1995, Neustein was selected to represent Israel in the Venice Biennale. For The Possessed Library, curated by Gideon Ofrat, Neustein had two large cranes parked nearby the Israeli Pavilion, the facade of which he surrounded with construction scaffolding. Plexiglas panels etched with book titles lined the scaffolding, resembling books on shelves, while bubble wrap sacks hung suspended from the cranes, one just above the pavilion's roof, the other dipping in through a skylight in "The Tosca Room". "The Tosca Room" walls were covered in soot, while its floors were strewn with terra-cotta letters under plexiglass. A soundtrack played a whistled version of the "E Lucevan Le Stelle" aria from Tosca. Neustein later used recycled components from the Biennale in The Blind Library (1998) at Bet Ariella Library.

In 1996, Neustein's work was included in the Arturo Schwarz Collection exhibition at the Israel Museum.

In 1998, several of Neustein's environmental works were exhibited in Out of Actions, curated by Paul Shimmel at LA MOCA, and traveling to MAK Vienna, Museu d'Art Contemporani de Barcelona, Museum of Contemporary Art Tokyo, Japan.

2000s and 2010s

During the early- and mid-2000s, Neustein had significant participations in exhibitions at the Palazzo Delle Arti Napoli, the Haifa Museum of Art, the Time Depot, and the Chelsea Art Museum. During this time, Neustein permanently installed a life-size bronze cast of a tree with terra-cotta colored letters climbing its trunk in the lobby of the JCC in Manhattan.

In 2010, the Royal Ontario Museum, Toronto commissioned Margins, an installation that included a chandelier embedded in the wall alongside texts screened onto the wall and plexiglass sheets, referring to the writings of Edmond Jabès.^[11]

In 2012, Neustein mounted a large-scale retrospective at the Israel Museum, Jerusalem, titled Drawing in the Margins, which included 67 works spanning 40 years. The exhibition was curated by Meira Perry Lehmann.^[12] Neustein mounted Boss, a solo exhibition at Untitled gallery on New York's Lower East Side, the same year.

In the past decade, Neustein has participated in numerous group exhibitions at museums and galleries, including the Metropolitan Museum of Art (Paper Trails, a historic show of works on paper curated by Marla Prather in 2011),^[13] the Nasher Sculpture Center,^[6] LA MOCA (the Museum of Contemporary Art, Los Angeles),^[7] the Haus Der Kunst, Munich, and David Zwirner Gallery.^[8] For LA MOCA, Neustein reenacted Road Piece (1971) as part of "Ends of the Earth", an exhibition on Land Art curated by Philipp Kaiser and art historian Miwon Kwon. The show travelled to the Haus Der Kunst with director and curator Okwui Enwezor.