In The Transfiguration of the Commonplace: A Philosophy of Art (1981), Arthur C. Danto argues that a work of art differs from other objects, banal and everyday ones, when, despite having the same physical qualities, they are transfigured. Although Yankelevich does not represent everyday objects in their original materiality as ready-made art proposed, we believe that he does generate this transfiguration of what we understand as banal objects in order to produce a new semantics, another message, a reflection, an allegory toward another way of thinking. Thus, a typewriter becomes what appears to be the trigger of a gun, the handle of a shopping bag turns into a somewhat forced smile, a Halloween pumpkin displays the symbol of radioactivity instead of the typical evil face, and the silhouette of a man is portrayed inside a shopping cart.

Within the versatility Yankelevich offers, it is also important to recognize a hint of abstract art, perhaps something close to Impressionism, as a way of situating it within an artistic movement without intending to label it. We therefore find works that tend to differ from the more figurative ones: portraits of faces not defined but rather suggested through brushstrokes that emphasize contours and certain features, smoky landscapes, nocturnal scenes, wooded settings, or even scenarios that seem dystopian. All of them are rendered in more ocher tones, using acrylics or oils, or in blacks characteristic of India ink, his faithful ally.