Her works were exhibited in, among other exhibits, the exhibit "
80 Years of Sculpture in Israel" in
The Israel Museum. Chalfi published her first poems under the pen-name "Miriam Barukh". Not a soul—besides close family—knew her identity. She did not want her publicity as a sculptor to be understood through the perspectives of her poetry. Her visual works, similar to her poetry, specialize in concentration as well as
Tzimtzum, that is contraction. The artist Oziash Hofstetter wrote, "In her sculptures, an elegant celibacy emerges from the dimensions of her strength... Her works break through religious peaks. The language of her faithfulness... touches upon all of that which is in her heart—the hidden and the eternal." Her first book,
Ba-Tavekh (
In the Inside) (בַּתָּוֶךְ), was well received in the literary community. The poet
Yisrael Har wrote regarding this book: "Chalfi's poems are rare and sparkle in their individualism."
David Wienfeld wrote of Chalfi, "Her poems are deep and amazingly focused."
Hayim Pesah wrote: "She successfully brings in a spiritual universe—decorated, rich, and echoing through a tight framework of succinct poetry that knows well the secret of
Tzimtzum. In her second book,
Kimmahon (
Longing) (כִּמָּהוֹן) (Ha-Kibbutz Ha-m'uchad, 1999), Barukh revealed her identity in using her full name.
Kimmahon was lauded by critics. The poet
Admiel Kosman wrote, "This poetry is the poetry of life. She is like the footprints remaining in the sand of whoever passes by, and we merely contemplate that stranger's qualities in amazement." ==References==