The detainment has interrupted his work on a series of sculptures entitled Heads from the Kraków Palace, based on busts found up on the ceilings of Renaissance castles. Auschwitz had demoralized the artist up to a point where he said that he had died there and refused all requests, mainly by Schutzstaffel (SS) guards, who urged him to make a model of the camp. Being already of an advanced age, in 1942 Dunikowski fell sick and readily was selected to be killed, until his name was crossed out by a fellow Pole of the list of prisoners doomed to be gassed. Narrowly escaping death, he once again nearly met his fate when in September 1943 he was accused of belonging to a resistance movement within the camp, and was therefore sentenced to be shot . However, due to further illness, he was sent back to the infirmary and had his sentence reduced . By 1944, still hospitalized, he began to draw portraits of fellow prisoners. Each drawing had to be smuggled out, and the ones that have made it were sent back to Kraków. Dunikowski had still not fully recovered by 27 January 1945, when the Soviet Red Army liberated Auschwitz, but by 1946 he has returned to his position at the Academy of Fine Arts in Kraków. He has also resumed his work on the Heads from the Kraków Palace series of sculptures. Postwar period By the time he had returned to his normal life and recovered from his illness, Dunikowski was already seventy years old, and had started to create larger art to coincide with many of his Auschwitz-themed drawings and sculptures. His postwar interests started to drift toward architecture and tying it further to sculpture, as well as public monuments, most notably the Monument of the Liberation of the Region of Warmia and Mazury and the Revolutionary Effort, located in Olsztyn and at Góra Świętej Anny. Dunikowski had lived to see his works on display both in his hometown of Kraków, as well as exhibited in Warsaw, and at other venues, which by the early- to mid-1950s have included Moscow and Venice. In 1955, Dunikowski was the subject of a film documentary themed around his workshop, titled Idę do słońca (I am Going toward the Sun), but he took little interest in the film itself nor in its director, Andrzej Wajda. Featured in the documentary was another