tapestries were displayed at the Sazama-Brauer Gallery in Chicago in 1988: Daughters of Auschwitz, 60'x54', 1978; Daughters of the Earth, 81"x53", 1981; Ghetto Child—Stroop Report, 60"x48" 1982; Liberation, 56"x47", 1987; Deportation, 54"x53", 1988. One painting on non-stretched canvas, Parting Lodz, 48"x96", 1987; was included in this exhibit. It had grommets along its edges for mounting. The sixth tapestry, Pogrom, 64" x 48", was not finished until 1989. Rees claims: "Several examinations are required to come to terms with the piece. Once really seen, its masterful depiction of brutality serves as the culmination of what Nezhnie was trying to accomplish: tapestries that are hard to dismiss." Nezhnie included her cartoons, the schematic line drawings placed behind the weaving surface during production, and preliminary drawings along with the actual tapestries. This offered a very novel viewing experience; with the effect of duplicating her message many times as the viewer circled the gallery. In the book, A Mission in Art: Recent Holocaust Works in America, Vivian Alpert Thompson defines Nezhnie as an "empathizer": "The empathy of the artists who are not survivors is at times so deep that some of them have taken on characteristics normally attributable to survivors…" and, like for survivors, "the creation of these works is not cathartic for the artist… likely because the conditions of evil that their art warns against still exist." Impact on the tapestry medium According to Sharon Marcus, an educator, artist and critic regarding contemporary tapestry, Nezhnie was ahead of her time: "many of the technical innovations that contemporary artists are interested in today were utilized abundantly by Nezhnie, in particular shaped weaving and contrast of texture and weave structure." Nezhnie's limited training in the tapestry medium was less a deterrent than an impetus for discovering her own unique style. In the book NEZHNIE: Weaver & Innovative Artist, Rees suggests that; "In her early work, she started to determine what was essential to the process and to examine to what extent the structure of weaving could be altered. This led to the conclusion that neither the rectangular format nor a uniform, weft-faced weave need limit her visual expression… the more the structural features were revealed, the more lively and effective the image became." Thus she would judiciously let one or both of the warp colors (often orange and green yarns) show through in designated shapes or she allowed the warp ends to be seen as