In 2016, Time Magazine listed it as one of the 100 most influential photographs of all time, stating that it had an "evidentiary impact" exceeding that of the many other "searing images" produced during the Holocaust; the child "has come to represent the face of the 6 million defenseless Jews killed by the Nazis". Several books have been written about the photograph, including A Child at Gunpoint: A Case Study in the Life of a Photo by Richard Raskin, The Boy: A Holocaust Story by Dan Porat, and L'Enfant juif de Varsovie. Histoire d'une photographie () by Frédéric Rousseau. The photograph is perceived quite differently by the SS man who took it and other observers; in Raskin's words, "one set of men saw in that photograph heroic soldiers combating humanity's dregs while the vast majority of mankind sees here the gross inhumanity of man". According to Eva Fogelman, the photograph has promoted the myth that Jews went passively "like sheep to the slaughter". The image has been used in some controversial artwork juxtaposing the Warsaw Ghetto uprising with the Second Intifada in Gaza, which some argue is tantamount to Holocaust trivialization. In The Legacy of Abused Children: from Poland to Palestine by British-Israeli artist Alan Schechner, a camera zooms in on the boy in the photo, who is holding a different photograph of a child in Gaza being carried by IDF soldiers. Schechner stated that he did not intend to compare the Holocaust with the Israeli–Palestinian conflict, but merely illustrate the suffering of children because of the cycle of violence in which trauma causes victims to become abusers. A different approach was used by Norman Finkelstein in a photo-essay titled "Deutschland über alles", also juxtaposing the Warsaw photograph with images of Palestinian suffering. The subtitle read in all caps: "the grandchildren of Holocaust survivors are doing to the Palestinians exactly what was done to them by Nazi Germany". The Holocaust survivor and artist Samuel Bak has created a series of more than a hundred paintings inspired by the photograph, as well as by his own experiences and the memory of a lost childhood friend. In these works, the boy's extended arms are often depicted with a crucifixion theme or with the boy seen as a part of an imagined monument. Both NARA and IPN describe the image as in the public domain. However, in the 1990s Corbis Corporation acquired the