Mordo Avrahmov has never believed in the rigid Ideology of the Kibbutz movement especially in its tendency to suppress individual creativity and independent stances. This is what Yael Gvirtz wrote about his photography:
"His official job in the kibbutz he was in charge of growing vegetables and later in charge of the kibbutz landscaping. His work as the only photographer in the community, or as a photojournalist, was considered a hobby, even after he won prizes and his photographs were published in various albums and magazines and was exhibited in important exhibitions in Israel and abroad. But these difficulties helped in shaping him as a unique artist; as a ground breaker and an individual 'creator. He was free of the title 'mobilized artist' and despite having no formal photographic education, he spoke always in his own language and created a photographic endeavor that speaks to us with a loud and distinct voice in a language without which we would feel today as if we were mutes.
In an era when photography was considered a luxury, I was privileged to grow up next to his camera. From my childhood, I always remember him with a camera strapped around his neck. Mordo photographed me on a regular basis, and although the memories of my childhood have become limited and distant with the passing of time, the large albums that I posses, are loaded with wonderful and lively photographs. His sensitive lens was successful in capturing even hints of sadness. His photographs testify to how much he loved and understood children. I would say that Mordo not only documented us, but also caressed us with his camera. With his photographs he gave us our uniqueness; the warmth and tenderness that at times were missing. Mordo Abrahmov collection of photographs brought back for me the best and forgotten parts of my childhood in the kibbutz. He brought back the same emotions that in my childhood I experienced while viewing the popular Life magazine Family of Man album. Maybe it happened because Mordo focused so much on the individual, which was relegated in the kibbutz, to a secondary role in the shadow of ideology. Or maybe it is because the collection offers sixty years' historical perspective on the place, its people and children. It could be the humor and irony, which captured the expressions and fleeting moments and purposely avoided the much favored 'Heroic' of that period. But first and foremost because of the beauty and the diverse artistic range of the black and white dramas that his camera was able to capture, in a reality that to me seemed to consist of infinite routines and very often also of endless loneliness. Many of us felt that the adults were missing, being busy building the kibbutz or the country and not seeing us, the children. The photographs however, confirm for me, that Mordo was an insightful observer - with his camera not only present among us, but also penetrating deep inside.
From Our History in Black and White by Yael Gvirtz introduction to A Story of a Place – a Narrative of a Country Mordo Abrahmov Photographs 2007