A Legacy of Remembrance


A Legacy of Remembrance is a fine art exhibition of more than 30 original paintings and drawings focused on the Holocaust.

Artist Mark L. Cohen with painting, Mengele's ChildrenThe artwork was developed from photographs primarily available from the U.S. Holocaust Museum in Washington D.C. and the collection is continually added to by the artist, Mark L. Cohen.

These works have been previously exhibited at the Holocaust Documentation and Education Center in Dania Beach, Florida, Temple Israel in West Palm Beach, Florida, and Florida International University in North Miami, Florida.

Learn more about the artist, Mark L. Cohen, here.

Educational Initiative

The purpose of this exhibition is to educate viewers about the Holocaust and it’s far-reaching effects, even into the present day. In partnership with the Armory Art Center, the artist has created two educational components that are available for purchase.


Now, you can schedule a Zoom meeting for your group, class, school, church, synagogue or any meeting of your choice. The artist, Mark L. Cohen, will lead your Zoom meeting, explaining the subject matter of each work of art and giving a virtual PowerPoint presentation. The Armory Art Center will coordinate with your organization to provide the zoom link and and track participation. You’ll receive a turnkey presentation, along with a concluding Q & A guaranteed to educate your viewers.

Rental rate for a Zoom presentation is $500.00


The in person exhibition is dependent on venues large enough to show the actual paintings and drawings, which vary in sizes from 9′ high x 18′ wide to 20” x 30” fine art prints. The original art is on un-stretched canvas, making the works easy and inexpensive to ship and install. They are hung using large aluminum push pins.

Rental rate for the show is $8,000 for a 60 day rental.

If you are interested in either the zoom presentation or in-person exhibition option, please contact us by email here.


The Concept

During World War ll, in a Nazi concentration camp at the outskirts of Krakow, Poland, 28,000 people, mostly Jews, were imprisoned.  At the conclusion of the war, the camp commandant, Amon Goeth, was tried and convicted of war crimes by the restored Polish government and subsequently executed. He was responsible for killing between 8,000 and 12,000 Plaszow concentration camp prisoners. The story of this death camp was told in the movie, Schindler’s List. The series of paintings in this exhibition looks at the Holocaust overall and the Plaszow camp, in particular, from a different perspective. The paintings are another form of documentation of events that actually happened.

The following paintings, with accompanying narrative, are a preview of A Legacy of Remembrance, Mark L. Cohen’s Holocaust painting exhibition.

Next Stop, Auschwitz
The Death Trains, painting by Mark L. CohenThis drawing is based on an iconic photograph of the Krakow ghetto being emptied by Nazi soldiers. Krakow, Poland, prior to World War ll, was home to one of the oldest and most important Jewish communities in Europe. Beginning in 1941, all Jewish inhabitants of Krakow were ordered to relocate to the Krakow ghetto. In 1942, the entire Jewish population of greater Krakow (including 29 villages) was forced to move into the ghetto.




The Death Trains
The Nazi’s used 1,600 trains to transport Jews and others from thousands of cities and towns throughout Europe to meet their deatNext Stop Auschwitz, painting by Mark L. Cohenhs in transit ghettos, concentration camps, and forced labor and extermination camps. The trains were called “death trains.” The majority were made up of freight cars and cattle cars. Trains were made up of at least 50 cars per train, holding 100 to 200 men, women and children per car. Trains operated 24-hours-a-day, 7- days-a-week. Dr. Josef Mengele, worked at the medical facility at Auschwitz. He selected inmates for the human experiment program he initiated and managed


In the Forest at Birkenau

In the Forest at Birkenau, painting by Mark L. CohenAt Auschwitz – Birkenau, the trains unloaded men, women and children on the platform where they were selected to go to the gas chamber or forced labor. Mothers were not separated from babies or small children. They were immediately sent straight to the gas chambers. Everyone on the platform seems calm in photographs, because, for the most part, they did not understand what was about to happen to them. After being separated, the group that was going to the gas chambers would be walked into the nearby Forest in Birkenau. They did not realize that their lives would soon end. The closest crematorium was hidden by a fence. In this painting you see people waiting calmly, unaware of what was only a few feet away.


Liberating the Children

The Soviet army entered Auschwitz, Birkenau, and Monowitz and liberated around 7,000 prisoners, most of whom were ill and dying.  In mid-January 1945, as Soviet forces approached the Auschwitz concentration camp complex, the SS began evacuating Auschwitz and its subcamps. SS units forced nearly 60,000 prisoners to march west from the Auschwitz camp system. It is estimated that the SS and police deported at a minimum 1.3 million people to the Auschwitz complex between 1940 and 1945.

Of these, the camp authorities murdered 1.1 million. Red Army soldiers arrived at Auschwitz on 27 January 1945. About 7,000 prisoners had been left behind, most of whom were seriously ill due to the effects of their imprisonment. Most of those left behind were middle-aged adults or children younger than 15.

The date of the liberation (27 January) is recognized by the United Nations and the European Union as International Holocaust Remembrance Day. On the 75th anniversary (2020), a forum of world leaders—the World Holocaust Forum—was held in Israel, hosted by President Reuven Rivlin. Among the attendees were United States Speaker of the House Nancy Pelosi, President of Russia Vladimir Putin, Charles, Prince of Wales, President of Germany Frank-Walter Steinmeier, and President of Ukraine Volodymyr Zelensky.

Liberating the Children, painting by Mark L. Cohen

If you are interested in renting this as an exhibition or Zoom presentation, contact us here.


Mark L. Cohen is an award-winning marketing communications executive, graphic designer, teacher, painter and printmaker.  His subject matter utilizes contemporary and past iconic figures from politics, popular culture, entertainment and war and peace. He has chosen to paint many of the human “monsters” in contemporary life, including Jared Loughner, James Holmes, Bashar al-Assad and many more.  One of these monsters, Amon Goeth, the commandant of the World War ll Nazi Plaszow Concentration Camp spurred him to create a series of paintings about the Holocaust, Plaszow and three generations of women associated with Goeth.

Most of the paintings are large scale works that demand notice.  They exhibit a sparse and concise pictorial composition that combines abstract expressionism and pop art in their execution. In these paintings, viewers can investigate issues of antisemitism and genocide.

These same issues are seen in the perpetration of other heinous acts that are reported in the media on an all too frequent basis.  The artist’s intention is to remind viewers that more than seventy years after the Holocaust, we live in a world of not only continuing antisemitism, but hateful biases that result in genocides and senseless killings around the world.  The artist hopes that all of us will do everything possible to end hatred and promote understanding toward all people.

Cohen has also created a series of thirty paintings that examine issues raised by the Black Lives Matter movement.  In 2020, he painted a series of ten paintings about Covid-19 and mask-wearing.  The paintings have been shown in multiple venues during 2020 and 2021, including the Armory Art Center. The purpose of the works is to remind all of us about the selfless efforts of doctors, nurses and allied healthcare professionals who risk their lives daily to care for us.

Learn more about the artist at marklouiscohen.com


This exhibition and educational initiative is funded in part by a grant from South Arts in partnership with the National Endowment for the Arts and the Florida Division of Arts & Culture; presented in collaboration with the Armory Art Center.