Pieces at the 2002 show at the Jewish Museum, "Mirroring Evil: Nazi Imagery/Recent Art":[] "Giftgas Giftset," three replicas of Zyklon B gas canisters in the colors, and bearing the logos, of Chanel, Hermes and Tiffany's.
[] "Prada Deathcamp" is a model of a concentration camp on cardboard from a Prada hatbox. The exhibit catalog on this: the artist "dares to observe Holocaust museums and their visitors from the position of a critique of consumption."
[] "LEGO Concentration Camp Set" consists of replicas of boxes of the children's building blocks, but the boxes bear photographs of models of barracks and crematoria. The catalog: this work shows "how such seemingly harmless items may pose serious psychological and philosophical questions about gender, sexuality, and childhood."
[] In "It's the Real Thing -- Self-Portrait at Buchenwald," the artist digitally inserts a photograph of himself, holding a Diet Coke, into the foreground of a famous photograph of emaciated Jews in their bunks shortly after the liberation of Buchenwald. The catalogue: this work "draws parallels between brainwashing tactics of the Nazis and commodification. Just as much of Europe succumbed to Nazi culture because it was the dominant paradigm, so does our contemporary culture succumb to consumerism."
Conservative columnist-pundit George Will was among those who hated this show, and in his column called "Exploiting the Holocaust, intellectually" he wrote: "A wit once said that everything changes except the avant-garde. But it does change. It gets worse." Be sure to read the rest of his essay.
"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" 
that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for 
