Judith Weinshall Liberman was born in 1929 and grew up in Haifa, Mandatory Palestine (present-day Israel) during the years of the Holocaust.
[9] Helen A. Harrison of the New York Times states that within the Holocaust Wall Hangings, "Abstraction and repetition are applied to the symbolism of repression, removing it from the realm of personal suffering and elevating it to the level of universal tragedy.
"[5] Ori Soltes, art and theology teacher at Georgetown University and former director of the B'nai B'rith Klutznick National Jewish Museum in Washington, D.C., believes that the soft materials Weinshall Liberman uses in her work "provide an important contrast to the Holocaust tragedy.
"[6] In her article "Powerful Works on Fabric a Tribute to Holocaust,"[10] critic Fran Heller of the Cleveland Jewish News notes that "Liberman's color palette of red, gray and black symbolizes blood and fire, suffering, despair and death (and) it is both forceful and aesthetically moving.
"[9] The Judith Weinshall Liberman Papers, 1960–2003,[11] a collection of photographs, slides, videos and manuscripts of panel discussions and exhibition installations[12] relating to the Holocaust Wall Hangings, has been catalogued by the Smithsonian Institution's Archives of American Art.