Nazaret Karoyan (Аrt critic): "Genocide therefore, was mostly a technological program and action. As such, it did not imply the sheer destruction of a group of people, the removal of all that related to their everyday life: eating (towel, table cloth, napkins), sleeping (tick, blankets, sheets), intimacy, dreams, all those open and secret subjects of everyday life that Bourdieu called habitus. The operation was not only directed to the destruction of the reproductive organs of a human collectivity, an entire race, but also the elimination of all signs, thus making impossible mourning itself and the words of mourning.

Sahak Poghosyan, by addressing genocide, deals with this situation. The point is not that there are no stories in this situation, but that it is impossible to talk, as such, about them. The painter seems to portray their weak whispers that eventually become silence by enmeshing the linear clearness and color brightness of fabrics and trimmings with a coating of paraffin."

Teni Vardanyan: "This painting is dedicated to a loss of a very close person to me. I depicted the Holy Mass in the memory of this person. But the "Holy Mass" is never done only for one person, that is why I dedicated this artwork to the Armenian Genocide."

Kebabjian’s entire art was influenced by the disaster that happened to the Western Armenians. Melkon Kebabjian’s “ruins” express not only the destruction and annihilation of the localities of the Armenian nation but also the destruction of the human’s peaceful soul.

In Sarkissian’s landscapes, nature, manifesting itself in the mysterious appearance of runes, elicits in the spectator an irrepressible desire to decipher the imagery. What is presented to us is not a puzzle but rather a miracle, at which we gaze in a trance-like state, losing ourselves in the experience and dissolving our ego.