Private Tour by Curator Maria Castro There Are No Words: Si Lewen’s Parade The Metropolitan Museum of Art, New York, NY 10028

Join us for a special early tour of the exhibition with curator Maria Castro, before the museum opens to the public. After the tour, we’ll gather for coffee and tea and continue the conversation. REGISTRATION CLOSES SUNDAY, NOVEMBER 15, 2026. The Parade is an epic cycle of 63 charcoal, pencil, and ink drawings conceived by Si Lewen (1918–2016) in the aftermath of World War II. The work unfolds a visual narrative on war, memory, and the human condition that is informed by the artist’s extraordinary life. Born in Poland to Jewish parents and raised in Germany, Lewen fled Nazi persecution with his family in 1933 before immigrating to the United States. While serving in the U.S. Army as one of the Ritchie Boys, a specialized unit of German-speaking soldiers, Lewen arrived at the Buchenwald concentration camp shortly after its liberation in 1945. The Parade is rooted in the artist’s experience of these events as well as his coming of age during the tumultuous years when, as he reflected later, the parades after World War I gave way to the death marches of World War II. Image above: Si Lewen (American, Lublin, Poland 1918–2016), The Parade, ca 1950. Manufactured charcoal, pencil, crayon, ink, scratching, and hand applied gesso on paperboard, 13 7/8 × 19 3/4 × 1/16 in. (35.3 × 50.1 × 0.2 cm). The Metropolitan Museum of Art 2024.487.1–.63, Courtesy the Estate of Si Lewen and James Cohan, New York. REGISTER HERE REGISTRATION CLOSES SUNDAY, NOVEMBER 15, 2026. Si Lewen (American, Lublin, Poland 1918–2016), The Parade, ca 1950. Manufactured charcoal, pencil, crayon, ink, scratching, and hand applied gesso on paperboard, 13 7/8 × 19 3/4 × 1/16 in. (35.3 × 50.1 × 0.2 cm). The Metropolitan Museum of Art 2024.487.1–.63, Courtesy the Estate of Si Lewen and James Cohan, New York Si Lewen (American, Lublin, Poland 1918–2016), The Parade, ca 1950. Manufactured charcoal, pencil, crayon, ink, scratching, and hand applied gesso on paperboard, 13 7/8 × 19 3/4 × 1/16 in. (35.3 × 50.1 × 0.2 cm). The Metropolitan Museum of Art 2024.487.1–.63, Courtesy the Estate of Si Lewen and James Cohan, New York Experienced together as a sequence, the drawings carry viewers from military pageantry to conflict, devastation, and mourning through the cumulative force of their imagery. The power of The Parade lies not only in its historical origins but in its ability to speak across generations with urgency, asking viewers to confront the persistent cycles of violence that continue to shape our world. The exhibition’s title, There Are No Words, is inspired by Lewen’s own description of the format of The Parade as a wordless novel in which he explained: “there are no words . . . just the picture itself is the narrative.” At the same time, the title reflects his conviction that the horrors of war ultimately defy language and description. “The real horrors of war cannot be imagined and cannot be described. Hell? It’s a fine poetic metaphor, but the Holocaust is beyond all description, comprehension, and belief. And so, generation after generation parade off to war not ever knowing what they parade into…” (Si Lewen, unpublished memoir, 1985-89) Si Lewen (American, Lublin, Poland 1918–2016), The Parade, ca 1950. Manufactured charcoal, pencil, crayon, ink, scratching, and hand applied gesso on paperboard, 13 7/8 × 19 3/4 × 1/16 in. (35.3 × 50.1 × 0.2 cm). The Metropolitan Museum of Art 2024.487.1–.63, Courtesy the Estate of Si Lewen and James Cohan, New York Si Lewen (American, Lublin, Poland 1918–2016), The Parade, ca 1950. Manufactured charcoal, pencil, crayon, ink, scratching, and hand applied gesso on paperboard, 13 7/8 × 19 3/4 × 1/16 in. (35.3 × 50.1 × 0.2 cm). The Metropolitan Museum of Art 2024.487.1–.63, Courtesy the Estate of Si Lewen and James Cohan, New York Maria Castro is the Jacques & Natasha Gelman Associate Curator in the Department of Modern and Contemporary Art. Castro has served as Andrew W. Mellon Foundation Associate Curator of Painting and Sculpture at the San Francisco Museum of Modern Art since 2024 and previously held the role of Assistant Curator in the same department since 2018. Castro’s prior experience includes positions as a Leonard A. Lauder Predoctoral Research Fellow in Modern Art at The Met and an internship at the Carnegie Museum of Art, Pittsburgh. She received her PhD and MA in the History of Art and Architecture from the University of Pittsburgh. The Metropolitan Museum of Art Please donate generously to make programs like this possible. Thank you. The Fritz Ascher Society is a not-for-profit 501(c)3 organization. Your donation is fully tax deductible. DONATE HERE