Judy Glickman Lauder’s photographs in Beyond the Shadows: The Holocaust and the Danish Exception are so masterfully crafted they make us feel as if we ourselves are on the train tracks approaching Treblinka, behind the barbed wire fence at Majdanek, at the entrance of Dachau under the sign Arbeit Macht Frei, outside a gas chamber at Auschwitz. Faced with these images, we can’t help but imagine what it must have been like for the millions of innocents who entered these passageways, in most cases never to return.