A full-scale recreation of Anne Frank's Secret Annex shows how her family lived in seclusion. Take a look.
Anne Frank famously kept a diary while hiding from the Nazis during World War II.
A new exhibit in New York City features a replica of the family's Secret Annex.
The full-scale recreation is furnished as it was when Anne and her family went into hiding.
Anne Frank's "The Diary of a Young Girl" remains one of the most famous and powerful works of the 20th century — and one of the most poignant accounts of a young person's life during the Holocaust.
Now, a new exhibit in New York City allows visitors to step inside a recreated version of the home where Anne Frank and her family once lived in complete secrecy.
"Anne Frank The Exhibition," an immersive experience at the Center for Jewish History near Union Square, features a full-scale replica of the Secret Annex where Anne and her family lived in hiding in Amsterdam for two years.
The annex is furnished just as it was during the Franks' years in seclusion, allowing visitors to experience the space as they did and gain a deeper understanding of the day-to-day lives of Anne, her family, and the others who lived there.
"This exhibition arrives at a time when teaching the lessons of history is urgent," Ronald Leopold, the executive director of the Anne Frank House, which has partnered with the Center for Jewish History to create the exhibit, told Business Insider.
"Across the United States and around the world, we are witnessing a troubling rise in antisemitism and other forms of group hatred. The Anne Frank House has always felt a deep responsibility to counter these forces through education, and this exhibition is a powerful response to that mission."
Photos show inside the new exhibition in New York City.
Anne Frank The Exhibit is located in Union Square in New York City.
The exhibit opened to the public on January 27, 2025, on International Holocaust Remembrance Day, which marked the 80th anniversary of the Auschwitz concentration and extermination camp's liberation.
Frank was one of 1.5 million Jewish children killed by Nazi officials and their collaborators, the exhibit creators said. The Holocaust claimed the lives of 6 million Jewish people.
Inside the exhibit, visitors can walk through a recreation of the famous bookcase entrance that concealed the Secret Annex.
The exhibit is similar to the installation inside the Anne Frank House in Amsterdam.
However, the actual Anne Frank House is unfurnished, making this exhibit the only way to see how the annex, which occupied two full floors, an attic space, and a loft inside the home, would have looked between 1942 and 1944.
The rooms are fully recreated and furnished to scale according to how they looked when the Franks lived there.
Anne was 13 when she moved to the Annex with her mother, Edith; her father, Otto; and her older sister, Margot, 16. Four others also lived with them: Hermann and Auguste van Pels, their 15-year-old son Peter, and Fritz Pfeffer, a dentist.
The New York City exhibition spans over 7,500 square feet of gallery space between the recreated rooms and a separate space with photographs and other artifacts.
"The recreated Annex is not just a historical space; it is a gateway to understanding the past and, crucially, learning from it," Leopold told BI.
"As we move further into the 21st century, it is imperative to find ways to engage new generations with Anne's story. While rooted in a specific historical moment, her experiences resonate far beyond her time, speaking to our shared humanity and the moral choices we all face," he continued. "This exhibition does more than remember Anne; it challenges each visitor to reflect on how history can inform our responses to hatred and injustice in our own communities today."
The Franks went into hiding in the summer of 1942 and were joined a week later by the Van Pels family.
The Franks, who had left Germany for Amsterdam in the 1930s, moved into the Secret Annex, as it came to be known, after Margot received a summons to report to a labor camp in Germany.
The entrance was located behind a bookcase in the back of Otto Frank's office building.
The ground floor of the office building was used as a workshop for the Pectacon company, which sold herbs and spices, and the first and second floors were used as storage and office space.
A staircase was later constructed to lead from the main house's first floor to the second floor. It opened out onto a landing where, when the Franks entered into hiding, a revolving bookcase was placed in front of a door that entered into the annex.
The annex's inhabitants lived there for two years in complete secrecy, aside from a small number of helpers who provided them with food and other supplies.
The families lived primarily on the second and third floors of the building, above the warehouse on the ground floor and office building on the first floor.
A few members of the office staff, known as the "helpers," knew about the people hiding in the annex and helped to conceal them from the warehouse workers and outsiders.
The annex had a kitchen, a bathroom, and rooms that could be converted into bedrooms at night.
The bathroom had a sink and toilet, which the eight inhabitants shared, requiring them to take turns using them in the morning and at night.
At night, the kitchen and dining room was converted into Hermann and Auguste van Pels' bedroom.
During the day, the bedroom of Otto, Edith, and Margot Frank acted as the Frank family's living room.
Space was limited inside the annex, so it was vital for the inhabitants to rely on each other for support and to share the space peacefully. In the morning, the families had to wear socks and be as quiet as possible so as not to tip off the warehouse or office workers about their movements.
The family enjoyed a quick reprieve during the weekday lunch break, when the helpers would come up to the annex for lunch and discuss the latest news from the war.
In the afternoon, the family would nap or do quiet activities like reading or writing.
After the workday ended around 6 p.m., the annex inhabitants were able to move freely about the entire office building.
A standard evening inside the annex involved Otto Frank writing business letters on the typewriter and Margot and Anne doing various chores around the house. The two older women would also cook dinner for everyone in hiding using the supplies brought to them by the helpers, according to the Anne Frank House.
However, as the war raged on and access to high-quality food dwindled, food became less and less appetizing to the family, and especially to Anne.
"Blech, the mere thought that I have to eat that swill makes me nauseated," she wrote in her diary, according to the Anne Frank House.
After dinner, the families would relax by reading, conversing, or listening to the radio before transforming their living areas into bedrooms.
When the sun set, the windows would also be blacked out in order to conceal the family moving about the annex, and they would all have to be silent again.
Anne Frank shared a room with Fritz Pfeffer, who was the same age as her father.
The pair fought over the use of the writing desk.
Anne, a spirited teenager, felt that desk time should be split evenly between herself and Pfeffer, but he disagreed.
Otto eventually intervened in the conflict over the writing desk, which Frank wrote about in her diary.
"Pfeffer looked very sullen, didn't talk to me for two days and made a point of sitting at the table from 5 to 5.30 anyway... childish, of course," she wrote, according to the Anne Frank House.
Peter, the van Pels' teenage son, was the only inhabitant to have their own room in the annex.
Much is speculated about Peter and Anne's relationship. She wrote that she wasn't very fond of him when he and his family first moved into the annex.
However, a romantic spark soon developed between the pair, who were both longing for someone to talk to about their circumstances.
She had her first kiss with him on the bed of his small room below the annex's attic.
In addition to the fully recreated annex, there are photos of the family and the war at the exhibition.
The exhibition includes more than 100 original collection items, from Anne Frank's first photo album to handwritten verses written by Anne Frank in her friends' poetry albums.
The exhibit is the first opportunity for the public to see what the annex would have looked like completely furnished.
Otto Frank, the annex's sole survivor, famously refused to refurnish the Anne Frank House in Amsterdam.
"After the Anne Frank House had been restored, they asked me if I wanted to have the rooms refurnished. But I said, 'No. They took everything out during the war, and I want to keep it that way,'" he said in an interview in 1962, according to the Anne Frank House.
The executive director of the Anne Frank House says this historic exhibition is crucial today amid rising antisemitism.
"The exhibition provides perspectives, geared toward younger generations, that are certain to deepen our collective understanding of Anne Frank and hopefully provide a better understanding of ourselves," Leopold said in a statement.
"By bringing this exhibition to New York — a place with many ties to Anne's story — the Anne Frank House is expanding the reach of our work to encourage more people to remember Anne Frank, reflect on her life story, and respond by standing against antisemitism and hatred in their own communities."
Read the original article on Business Insider
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
24 minutes ago
- Yahoo
Boulder suspect's wife, kids in ICE custody: DHS
The wife and children of Boulder, Colorado, terrorism suspect Mohamed Soliman are in the custody of U.S. Immigration and Customs Enforcement and the family is being processed for expedited removal, according to a Department of Homeland Security official. Soliman -- who was arrested after allegedly throwing Molotov cocktails in an "act of terrorism" during a pro-Israel demonstration on Sunday -- has been in the U.S. on an expired tourist visa, officials said The father of five was granted a work permit, but that had also expired in March. MORE: Boulder attack suspect charged with federal hate crime, said he 'wanted to kill all Zionist people': Court documents Soliman was born in Egypt and lived in Kuwait for 17 years before moving to Colorado Springs three years ago, court documents said. Soliman allegedly said he had been planning the attack for one year but waited until his daughter graduated from high school last Thursday to carry it out, state and federal documents said. Omer Shachar, a co-leader of Run for Their Lives in Boulder, told ABC News he was standing in front of the group outside the Boulder courthouse Sunday afternoon when a man threw a Molotov cocktail under their legs. Shachar felt "panic right away" as his friends caught fire in front of his eyes. "They're literally on fire," he said. "I don't know if I can express it enough -- literally on fire and trying to pull my friend out of the fire." "Once someone could help her, I was reaching out to the [attacker] and try, I don't know what I thought, but maybe to tackle him ... but we saw that he's approaching to a container full of bottles and realized that it's not a good idea, so we stepped back," Shachar said. "We're trying to keep people away as much as possible, although some of them couldn't walk. One of them was on the ground where the fire is." Shachar said passersby stepped in with water bottles to try to help put out the blaze. Twelve people were injured, officials said. Two victims remain in the hospital. MORE: Holocaust survivor among the Boulder attack victims Authorities are reviewing a newly released video showing the chaos and panic in the attack's aftermath. Soliman, who allegedly disguised himself as a gardener during the attack, told police "he wanted to kill all Zionist people and wished they were all dead," court documents said. "SOLIMAN stated he would do it (conduct an attack) again." He "said this had nothing to do with the Jewish community and was specific in the Zionist group supporting the killings of people on his land (Palestine)," documents said. Shachar said Run for Their Lives holds a peaceful walk every Sunday to raise awareness about the hostages who remain held in Gaza by Hamas since Oct. 7, 2023. Participants include those who are "Jewish and non-Jewish, right and left, Israelis and non-Israelis, Americans and non-Americans," he said. "And people are coming for the same cause -- to bring those hostages back home." Shachar said he hopes the group can return to their walks soon. "At the moment, Run for the Lives, the international group, asked to stop walking until we understand better safety arrangements and security arrangements," he said. "However, personally, I will say that as long as we can do it, and as long that we're working with the police and we can do it, I will walk until the last hostage is back home." MORE: How the Boulder attack highlights the danger to soft targets: Analysis Soliman had taken a concealed carry class to learn how to fire a gun, but "had to use Molotov cocktails [for the attack] after he was denied the purchase of a gun due to him not being a legal citizen," state court documents said. Sixteen unused Molotov cocktails were within "arm's reach" of the suspect when he was arrested, FBI Denver Special Agent in Charge Mark Michalek said on Monday. The unlit Molotov cocktails were "comprised of glass wine carafe bottles or Ball jars containing clear liquid and red rags hanging out of the bottles," court documents said. Police also found a "backpack weed sprayer, potentially containing a flammable substance. The clear liquid in the glass bottles and weed sprayer were determined to be 87 octane gasoline, which was determined to contain xylene." Soliman has been charged with a federal hate crime and state charges including 16 counts of attempted first-degree murder, according to court documents. He appeared in court virtually on Monday. He has yet to enter a plea.


Los Angeles Times
34 minutes ago
- Los Angeles Times
Fascism and a clown suit: L.A. Opera's gripping new ‘Rigoletto'
Though mean-spirited, the jester Rigoletto — Verdi's hapless, vengeful hunchback — wins our hearts as the outsider whom a heartless world so often abuses. 'Rigoletto' remains an opera reminding us where to direct our sympathies when authoritarianism remains the alternative. That is not as straightforward as it sounds. Los Angeles Opera has struggled with one insufficient 'Rigoletto' production after another, imported or homegrown. Singers and conductors have been counted on to save the show, and sometimes they have. Last time around, the most interesting contribution was, however scrappy, conductor Matthew Aucoin's idea-rich interpretation. This time, at the Dorothy Chandler Pavilion on Saturday night, L.A. Opera unveiled a violent, politically disquieting production in which a tortured jester faces mob rule. If an out-of-control clown gives you the creeps, check out the crowd in cartoon masks meant to disguise evil. Tomer Zvulun, who heads Atlanta Opera, where this production got its start, begins his director's note in the program book with a quote from Alfred Hitchcock: 'There is no terror in the bang, only in the anticipation of it.' Baritone Quinn Kelsey's gripping 'Rigoletto,' as good as it gets these days, is all bang. The men of the L.A. Opera chorus are terror personified. This is the third time L.A. Opera has turned to cinema for help with 'Rigoletto,' on the surface a spellbinding drama. L.A. Opera in its advertisements likens it to film noir. For the company's first go with the opera in 1993, it approached Peter Medak, who unfortunately bowed out to make the thriller 'Romeo Is Bleeding.' Seven years later, L.A. Opera went Hollywood. Film director Bruce Beresford updated the ducal court of Mantua to present-day Beverly Hills and Venice Beach. But neither cast nor company were up to making it work. Zvulun, who turns to fascist Italy in the years before World War II, counts as his inspirations the films by Federico Fellini and Luis Buñuel. That doesn't do much either. Resources once more fall short. The turntable set, which evokes little of anything, was created for Wolf Trap Opera in Washington, D.C. The chorus' cruelty is fitting, but masks are by now a commonplace movie trope for evil. The Duke, a philanderer, has far less interest in mob rule than in chasing skirts. The party scenes with leggy dancers, meant to be decadent, are inoffensive. But there is violence. Knives are convincing. Zvulun introduces mayhem and murder. Two ghosts make appearances for goosebumps. The lighting (Robert Wierzel) is full-bore noir. The set is mostly dark with characters starkly spotlighted giving the impression of a black-and-white film. A storm scene, one of Verdi's great innovations, is so strongly revealed that it has no need for the added strobe effects. The lighting, in fact, is key. It highlights both the strength of the cast and some of the weaknesses of the production. Kelsey, who has spent a good deal of his career impressively singing the title role around the world, is here weighed down by his costume. Somehow among the elegantly dressed in fascist Italy society, there is this guy in a bright red clown outsider status as a hunchback is instead a costume that presumably serves as scarlet letter or Star of David. Still, the old-fashioned nature of this 'Rigoletto,' along with an excellent cast, saves it. So does James Conlon's conducting, which supplies humanity to Kelsey's fuming anger. It takes a lot to love Rigoletto, who keeps his daughter, Gilda, locked up, although she, of course, sneaks out and falls for the count. Kelsey may lack the warmth of some of the great Rigolettos of the past, but there may not have been any more powerful. The visceral energy of the anger of this guy in a clown suit is the stuff of nightmares. Rigoletto orchestrates his own downfall and Kelsey's horror at the end feels like the unleashing of a new breed of violence. Lisette Oropesa is back as Gilda. In the previous L.A. Opera production she began blandly only to be awakened by the raw meaning of love, singing very prettily all the while. She does so again, the blandness this time all the more superficial and ensuing depth equally greater, the prettiness richer and mattering more. She romanticizes her lover, the Duke disguised as a student, looking in her mirror while applying makeup, as though 'Caro Nome' were 'I Feel Pretty.' But her duets with Rigoletto are pregnant with emotion, and she is stunningly angelic in the end. As the Duke, René Barbera, a light and agreeably lyric tenor, goes his own way. He is overpowered by the chorus, oblivious to all but pleasure. There are many strong voices, notably Peixin Chen, the regal bass who plays the assassin Sparafucile, and Sarah Saturnino, a seductive mezzo-soprano who is his sister, Maddelena, who lures the Duke. This 'Rigoletto' closes Conlon's penultimate season as L.A. Opera music director. Seemingly born to conduct Verdi, Conlon can whip up as much dramatic excitement as anyone might need. But he has in recent years taken a more expansive approach to Verdi. His restraint and reserved pacing classes up some of the cheaper tricks of the production and, more important, gives perspective to it most powerful ones. Listening to the elegant orchestra, the clown suit didn't seem so bad. After 32 years of failed attempts, L.A. Opera has finally moved the 'Rigoletto' needle in the right direction.

Business Insider
35 minutes ago
- Business Insider
Amazon is in talks to roll out AI coding assistant Cursor internally as employee interest spikes
Amazon staff demanded Cursor. They may be about to get it. According to internal Slack messages, reviewed by Business Insider, several Amazon employees inquired about using the AI coding assistant Cursor at work. In response, an HR manager wrote that Amazon is in talks with Cursor's team to formally adopt the popular development tool "asap." The HR manager added that the two companies are addressing "a few high priority security issues" before deploying Cursor's AI tool. "It all depends on whether we can make it work in line with our high security bar," the HR manager wrote, referring to Cursor's deployment. "But yes, I'm optimistic this could become a reality at Amazon." The size of the deal is unclear, but the HR manager is part of Amazon's global HR team overseeing "genAI adoption," according to this person's LinkedIn profile. The Slack channel, dedicated to Cursor users, is open to anyone working at Amazon and has about 1,500 participants. Cursor's potential adoption at Amazon is notable, as the tech giant often urges employees to be cautious when using outside AI tools, particularly when Amazon has a competing product. In some cases, Amazon has banned the use to certain third-party AI tools at work. The tech giant already offers its own AI coding assistant, Q, and has an internal AI chatbot called " Cedric." Amazon is also developing a more advanced AI coding tool, codenamed " Kiro," which could rival Cursor, BI previously reported. At least one employee appeared surprised by the potential Cursor deal. "Very cool that Amazon isn't scared to let us use it when we have multiple internal competitors," this person wrote in Slack. Cursor versus Windsurf and Q The Amazon deal also reflects Cursor's rapid emergence as one of the most popular AI coding tools. Anysphere, the maker of Cursor, raised $900 million at a $9 billion valuation last month, the Financial Times reported. The startup was worth $2.4 billion in December, according to TechCrunch. The company lists Stripe, Instacart, and Shopify as customers. Even Amazon CEO Andy Jassy took notice. During last month's earnings call, Jassy mentioned Cursor, an AWS cloud customer, as a key driver behind the "explosion of coding agents." In the Slack channel, which was created for those interested in Cursor, an internal poll showed that more than 60 Amazon employees favored Cursor over Windsurf, while just over 10 chose Windsurf. OpenAI recently agreed to acquire Windsurf for $3 billion. "I'm sure once we've Cursor at Amazon, people will not pay much attention to Windsurf or other IDEs," the HR manager wrote in Slack, referring to Integrated Development Environments, a common type of software that helps engineers write code more efficiently. Several employees said they liked Cursor's speed and ease of use, according to Slack messages. One of them wrote that Cursor is "so much faster" than Amazon's own AI coding assistant Q. "Cursor changes are almost instantaneous, whereas Q dev still takes minutes to make a change," the person wrote.