Yefman’s multidisciplinary works challenge normative definitions of otherness and examine the way in which personal and collective traumas shape inherent identities. He does so by transformation of myths and other sources and creation of fantastic worlds populated by ambiguous alternative cultural heroes. Yefman uses a wide range of mediums to explore the potential hidden in the exceptional and tackle subjects that are considered taboo in Israeli society, such as death, pornography, and the Holocaust. His works exemplify his preoccupation with his unique gender identity and seek to challenge social norms. Sometimes he even conceals his own identity behind joint efforts, as in the case of his collaborations with the Kuchinate Collective and the artist Dov Or Ner.​

The Kuchinate (crochet in Tigrinya) Collective was established in order to assist African women, survivors of the torture camps in Sinai. These women were captured on their journey to Israel and were held for long months in Sinai desert by Bedouin smugglers. They were subjected to severe torture and abuse, till the ransom money for their release was paid. To earn a living, and as a way of healing from their traumas, they create and sell traditional African baskets. Both Yefman and the collective members reside in southern Tel Aviv and share a love for knitting. The artist uses traditional handicrafts, especially knitting, as a method of coping with traumas. Similarly, the project offers women the opportunity to express their painful stories through knitting. The project helps them reconcile their memories from their homelands as opposed to their current identities and focuses on the process of adapting to the complex reality of life in Israel. The repetitiveness of knitting helps to cope with this existential tension.

In another collaboration, Yefman and established artist Dov Or Ner created a video-based project. The film shows Or Ner playing Adolf Hitler, while Yefman plays Penelope, a black woman wearing a knitted hat shaped like a golden tooth, resembling a vagina. They walk like phantoms, hand in hand, visiting various sites in kibbutz Yad Mordechai: the Mordechai Anielewicz monument, armored kindergartens, the “From Holocaust to Revival” Museum, the military cemetery, and others.

Or Ner, a Holocaust survivor whose parents died in Auschwitz, reinvented himself as Bad RenRo – his name spelled backwards. This persona allows him to cast Hitler and himself as the heroes of a surrealist-pornographic drama that ponders on the chilling possibility of the victim becoming the perpetrator. The exhibition is complemented by still images and props from the film. Yefman, the young artist, takes Or Ner’s decades of radical work further.