At the Boca Raton Museum of Art, rows of red-and-black banners suspended from the first-floor ceiling bear messages that seem plucked from Nazi Germany."Jews are not permitted to leave their apartments after 8 p.m.," reads one sign, translated in German and English, followed by the date "Sept.

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In Shimon Attie's "Neighbor Next Door," three peepholes bored into a museum wall offer literal windows to the past.

Visitors who gaze through the peepholes can view old film clips of soldiers' feet marching through the streets of Amsterdam, as a way to re-create how "Jewish people in hiding must have felt," Lippman says.

In Attie's "Writing on the Wall" series, the artist projects photos of people and buildings in 1930s East Berlin against the walls in the same modern-day neighborhood in a weaving of past and present.

In Stih and Schnock's "Rosie Won the War," the artists display poster-size portraits of modern-day women re-creating Norman Rockwell's image "Rosie the Riveter," dressed in work outfits and clutching wrenches and other hard-labor tools.

The texts and dates are re-creations of the actual laws once posted around West Berlin's Jewish neighborhoods, with each order charting the cold, methodical stripping of Jewish civil rights.

The Nazi's laws grow increasingly dire with every step down the museum's hallway.

Jews are first blocked from owning cats and dogs, then exiled from public sports, then forced into mandatory curfews and hard labor."You walk from sign to sign and see how Jews gradually become dehumanized throughout the war," says Stih, who debuted a version of these signs 20 years ago in West Berlin's Bavarian Quarter, which used to be called "Jewish Switzerland." "It's mind-blowing when you think about it."Replicas of Jewish oppression are scattered throughout "History Becomes Memory," the museum's title for five exhibitions opening Friday, Sept. While the occasion marks the 70th anniversary since the end of World War II, some installations reach back centuries, tracing the mass expulsion of Jews from Spain in 1492 up through the present day, executive director Irvin Lippman says."This is a global issue, really, to show that we don't necessarily learn from history, from Jews leaving Egypt to Jews being forced out of Spain," Lippman says during a recent tour of the museum.

"It's really about the oppression of anybody — Jews, gypsies, homosexuals, now Syrian refugees."Still, multiple displays plumb narratives related to World War II.

On a nearby video, "Counter Attack," Stih wears spiked, black high heels and repeatedly stomps on a copy of "Mein Kampf.""It's an emotional, sketchy piece that we had to do," Stih says.

"I think this woman — and all the Rosies — are synonyms of the women who worked hard labor during the war while their friends, fathers, uncles, boyfriends fought overseas."Other exhibits include Samuel Rothbort's "Memories of the Shtetl," 1950s watercolors of the Eastern European shtetls of his youth.

The paintings inspired Jerome Robbins' play "Fiddler on the Roof." For Terry Berkowitz's "Veil of Memory/Prologue: The Last Supper," the Manhattan artist built a wooden, crucifix-shaped dining table that makes references to the Spanish Inquisition, when Catholics expelled Jews from Spain "so Catholics wouldn't be converted to Judaism," Berkowitz says."[Jews] were given three months to convert, leave or die, and many left and were murdered at sea," Berkowitz says.