![]() That the museum addresses other genocides in such detail sets it apart from comparable institutions, most notably the United States Holocaust Memorial Museum in Washington, D.C. Indeed, two thirds of the museum's principal exhibition space is devoted to these themes. The journey though the years of the Holocaust does not end with the liberation of the death camps or the Nuremberg trials, but continues on to a broader examination of genocide and the struggle for human rights. One life-size flag, swastika swimming in its blood red field, would make a far more dramatic and accurate impression. ![]() Those elements should convey the megalomaniacal authority of the Nazi state, but because they have been reduced in scale to fit within the small dimensions of the gallery, they lose their force. Take for instance, a section on the Nazi rise to power, with information panels and videos placed beneath hanging Nazi banners and dummied-up classical columns. The experience is akin to walking into a three-dimensional middle-grade textbook. Produced by the team of Michael Berenbaum (historical expert) and Edward Jacobs (exhibit designer), who have made a virtual business of Holocaust exhibit design, they are overburdened with fact, with information panels, with the dutiful recitation of history. The exhibits proper have the opposite problem. A stairwell presentation leads visitors from the orientation wing on the first floor to the third floor exhibits at the Dallas Holocaust and Human Rights Museum in downtown Dallas, Tuesday, September 10, 2019.
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