Regretfully, we get quite a different impression when looking at M. Ginsburg’s graphic works and caricatures. With few exceptions, these may be defined as "komsomol" activism, reminiscent of the German Communist Grosz’s “anti- bourgeois” drawings, at times more fitted to the Moscow "Bezbozhnik" illustrations than for presentation to a Kaunas public. To my mind, M. Ginsburg,who is obviously over-indulging in that leftist attitude rather than in true artistry,is making a major mistake, which may not be so easy to remedy.28
Bichiunas’ article divided art critics into two camps. The first complimented the caricaturist on his courage and straightforward attitude towards social, economic, and political issues, while the other reprimanded him "for anti-social, anti-sacral and expressly bolshevist drawings."29
Summing up the Jewish artists’ exhibitions held during the interwar period, we may conclude that artistic and exhibition life in Kaunas was quite intense. Jewish artists held one-man shows as well as joint ones with their Lithuanian colleagues. Provision was made for the many strata of Lithuanian society to gain an impression of the diverse visions of Lithuanian Jewish artists in the context of the Lithuanian artistic scene, and to become acquainted with the works of internationally-recognised Jewish artists.
The Lithuanian press provided full and particular information pertaining to current exhibitions, something not true of professional art critics, whose common practice was to review exhibitions only superficially, merely giving a general impression in addition to the artist's name and the titles of his/her works and a mention of the work’s prevailing tendencies. In many cases, especially in the 1920s, art critics were reluctant to accept modern forms of plastic expression and the manifestation of modern artistic trends in the work of both Jewish and Lithuanian artists. We may thus conclude that in the 1920s some of the art critics and the public were not ready to accept modern art forms and ideas. Exhibitions distinguished for their high professional and artistic standards, as well for as the artists’ refusal to please acknowledged tastes, hewed a path towards a better understanding of innovatory ideas in the 1930s, not only with regard to the Lithuanian public but also among the critics. Thus the trail for the emergence of modernist art was blazed in Lithuania, with expressionism particularly gaining ground in the 1930s.