Boris Lurie's art is deeply intertwined with the Holocaust. His Altered Man exhibit is a conversation about the end of metaphysics, which is "impossible after Auschwitz." Lurie, a survivor of four concentration camps, believed that the only moral path in the context of the "total concentration camp" of modern reality is rebellion. He chose scathing criticism as his mode of expression. The vision of the world as both a concentration camp in which people ruthlessly destroy one another and of the world as a brothel, in which people, particularly women, are objectified—this was the touchstone and the thread that runs through Lurie's art.
Altered Man is a precise diagnosis of its time. The works presented in the exhibition can be seen as a Dadaistic gesture of destruction. The hated object or character is transformed and effaced. Evil in all its guises is neutralized by erasing it and removing it from the historical record.
Lurie's art rebels against bourgeois values, be they moral, aesthetic, or institutional, and instead stakes out a position of civic and personal liberty and independent expression. It is precisely why the current exhibition of Altered Man in Ukraine is a notable sign of contemporary Ukrainian society's openness.