On view from March 15 to April 15, 2026, at Hadas Gallery (Chabad of Clinton Hill) in Brooklyn, NY, Unfinished Liberation: Let My People Create is a group exhibition curated by Ronit Levin Delgado and Mila Sviderskaya Moscovitch. More than a show of artworks, it is an invitation to sit with liberation as something that doesn’t arrive once and for all, but keeps unfolding—shaped by memory, identity, and the pressures of the present.
Inspired by the Jewish story of the Exodus from Egypt, the exhibition revisits liberation as an evolving ritual: something reenacted each Passover, and re-understood each time history asks new questions. Rather than offering a single narrative, the curators bring together seventeen artists working across mixed media, photography, literature, and painting—including 29 artworks and 3 writing works—to examine resilience, displacement, spiritual inquiry, and the tension between hope and limitation.
In this frame, liberation can appear as tenderness and refusal at once: a way of surviving, a way of reclaiming, and a way of making meaning when the world feels fractured. In the exhibition, Ronit Levin Delgado contributes David, a work created through the repeated imprint of blue lipstick that reconstructs the Star of David. The gesture is intimate—almost bodily in its repetition—yet it also becomes symbolic and public. As described in the press materials, the repeated kiss-like marks function as both a mark and a method, transforming an emblem into a lived ritual.
“David” reads as an act of love and healing, but also as resistance, especially in response to rising antisemitism. Where others might treat identity as something to defend through distance, Delgado treats it as something to embody: tenderness becomes a tool, not a retreat.
What makes the piece resonate within Unfinished Liberation is how it aligns with the show’s central idea: liberation is not only political—it is also intimate, embodied, and ongoing.
Alongside Delgado’s language of imprint and ritual, Mila Sviderskaya Moscovitch’s contribution, Where Liberation Waits, brings a different sensibility. Combining painting with found materials, the work evokes an in-between space—fragile, partially obscured, and shaped by interruption.
The exhibition press describes the piece as a landscape “shaped by rupture and renewal,” reflecting liberation as a condition of uncertainty and transformation. In other words, freedom is not portrayed as a clean endpoint; it’s rendered as a terrain you move through—scarred, rebuilt, and still changing.
Together, the curators’ approaches create a compelling dialogue: Delgado leans into ritual intimacy and re-inscription of identity, while Moscovitch explores how freedom can look like a reconstructed environment made from what has remained.
Unfinished Liberation also highlights works by other participating artists, each adding a different angle on Exodus-inspired meaning and contemporary experience. The press release notes, for example, Miki Belenkov’s Cain and Abel, which uses biblical allegory to examine internal conflict within Jewish communities since October 7th; and Debbie Secan’s works, which incorporate salvaged elements and Exodus imagery to evoke the narrative through material memory.
Other artworks referenced in the curatorial text explore endurance and inner change through strategies like repetition and abstraction, or through direct visual translations of spiritual transformation. Across these positions, the exhibition emphasizes an interdisciplinary exchange—reinforced by events such as poetry and literary readings—so that art becomes conversation rather than spectacle.
Set against a backdrop of rising antisemitism and increasing cultural polarization, Unfinished Liberation positions art as a space for reflection, resilience, and dialogue across communities. The exhibition does not pretend that liberation is simple or immediate; instead, it treats liberation as something we practice—through story, through symbol, through materials, through the body, and through shared listening.
As the title suggests, the work is “unfinished” by design: liberation is not something we wait for passively. It is something we keep making.
Photo credits: From the artists’ archive
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