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Between 1946 and 1949, more than 55,000 Holocaust refugees, 20 percent of them children and youth, were detained by the British in various camps in Cyprus, in order to prevent their entrance to Eretz Israel (Mandatory Palestine). Relief organizations and emissaries from Eretz Israel were engaged in providing basic needs, occupation, and education to the detainees. Among other initiatives, art classes were organized for the young and adults alike, and occasional exhibitions were held to display their works. This paper tells the story of these exhibitions from different perspectives – therapeutic, educational, artistic, practical, and political. It exposes the politics behind the exhibits, as well as the competition surrounding them between the different political movements operating in the camps at the time. By analyzing the works of the young students in particular, and based on memories and research, the author shows how art was often used as an ideological tool as well. The youngsters had been directed to express their dreams of a wishful future in Eretz Israel, rather than their traumatic memories and losses in the Holocaust. Sculptures of Zionist leaders, models of kibbutzim, and displays of agricultural tools, among others, were common, while horrors of the war were hardly expressed in these exhibitions. One exhibition, displayed by the  Hashomer Hatzair  youth movement, serves as a case study in this paper. This unique project, called ‘To-No’ (Hebrew initials for ‘Youth Production’) is presented here through its numerous artifacts preserved to this day in archives in Israel, and through later exhibitions of them in Cyprus (2014) and in Israel (2017), accompanied by catalogs and articles of scholarly interpretation. They carry a universal message on the power and influence of artwork and artifacts as a means of resilience and rehabilitation, and as a model of spiritual and cultural resistance.

Artists Behind Barbed Wire: Art Exhibitions in the Detention Camps in Cyprus, 1947–1948