A Lego Nazi concentration camp criticised for trivialising the Holocaust has been purchased by the Museum of Modern Art in Warsaw. Here the denotation of rationality gets blurry when transformed into a means of carrying out something very irrational.The thing about rationality is that it leaves little room for emotion, but emotion is the very thing that this Image courtesy of Muzeum Sztuki Nowoczesnej w WarszawieImage courtesy of Muzeum Sztuki Nowoczesnej w WarszawieImage courtesy of Muzeum Sztuki Nowoczesnej w Warszawie Another image shows medical experiments carried out on the prisoners' skeletons by a camp doctor.The list continues – we see an execution by hanging, cremation ovens, bodies carried out of the crematory by fellow prisoners, and bodies dumped in a hole in the ground.

Even though at first sight this looks just like a Lego set, it is simply Zbigniew Libera's work of art imitating the original.The artist created seven boxes for Lego sets, almost identical to those produced by the Danish company: with the Lego logo and the traditional photograph of the finished design on the package. Media plays a role in this next part of the story as well.

All elements in the sets as well as those depicted on the boxes have either been taken from the mass-produced sets of LEGO bricks, or have been slightly altered by the artist. If The artwork does not just comment on the educational aspect of children's toys, but also on the way in which that particular historical event – the Holocaust – functions in popular culture.

Discourse on the Holocaust has been trivialized. I liked it so much that I wrote the foreword to it.

Some pieces were brought to life and others remained two-dimensional. The concentration camp system arose in the following months due to the desire to suppress tens of thousands of Nazi opponents in Germany. The images include crematoriums, watch towers, guards beating prisoners, barbed wire and other macabre instruments of the concentration camps. Instead, the artist used authentic Lego bricks to construct a Nazi concentration camp.

It’s no simple feat to try to process and delineate such a global tragedy. One of collection points for the artist is in Berlin in a parked car outside the Lego, a cross-culture talisman of childhood pioneered by the Danish, is a sensible game of construction and imagination. He carried out his idea on seven separate boxes ranging in size and demonstration. Born in Pabianice, Poland, in 1955, Libera grew up suffusing himself into Europe’s avant-garde art scene at the time, eventually settling with a group called In the wake of all this, a new notoriously politically charged Chinese artist, Ai Weiwei, renowned for his installations against discrimination and censorship, was refused bricks by Lego,who were probably still hurting from Libera. Ania Micińska, March 2015(1995) – a baby-doll with hairy calves, armpits and erogenous zones, Łóżeczka porodowe. In the case of All bricks have been sourced from actual Lego sets. In this project, Libera juxtaposes the logical with the inane, the insentient with devastation.With a history of provocative and iconoclastic pieces that deconstruct and question concepts of capitalism and unconscious consumerism, it is not a total shock that Libera is the man behind such an incendiary work. All bricks have been sourced from actual Lego sets.

On the boxes it read ‘this work of Zbigniew Libera is sponsored by Lego’ — which Lego disputed as false. He carried out his idea on seven separate boxes ranging in size and demonstration. Libera constructed the concentration camp out of legos without leaving much to the imagination.

The haunting gray mini-structure accompanied by prisoners made of skeletons and camp guards made of police men is displayed as the cover image on a lego box. Not the kind of toy one could buy in a regular shop.

Including the satellite camps, the total number of Nazi concentration camps that existed at one point in time is at least 1,000, although these did not all exist at the same time.

The Polish artist, Zbigniew Libera, wanted to complicate this idea of rationality by navigating towards absurdity through the commonly loved vehicle fecund with sensibility. Ai Weiwei took to social media, and many supporters of the artist are donating their beloved bricks to this outspoken and talented artist. The middle-sized box shows a picture of a warehouse with clothes and personal belongings – taken away from the prisoners entering the camp – spilling out of its four doors. As you might guess, John knows a great deal of Lego…

By bringing it to an absurd level, the artist effectively highlights that process.

Many artists have plagued themselves with figuring out how to accurately represent the holocaust without trivializing it, via monuments or anti-monuments; there’s no singular trajectory. The LEGO Corporation gave Libera the bricks for free without a clear vision of Libera's project and not knowing he would use them for this purpose.