Kogan […] cut the printing blocks for the woodcuts, which were to illustrate the poems by one of his friends. In what would take him months of labour, he set and printed the book himself — in Goslar. Why Goslar precisely? The printer there had the only type that seemed fitting to him. The book was bound in mauve-coloured silk in the Japanese style. It is a rare, exquisite piece of work.

Max Sauerlandt, ‘Moyssey Kogan’, Der Kreis, vol 3, no. 8, 1926, p. 332 (translated from German)

Karl With, Jizo, illustrated, set and printed by Moissey Kogan, published Verlag der Galerie Flechtheim, 1922

Charlotte Bachrach [Bara] is a true priestess and guardian of art. She does not come from the world of variété, she comes to give form to our yearning […]. I must say that she is the holiest and most profound thing I have encountered so far […].

Moissey Kogan on the Expressionist dancer, Charlotte Bara, in an undated letter to Gertrud Osthaus (translated from German)

Front cover of Alfred Richard Meyer, Charlotte Bara, 1921 with linocut by Moissey Kogan, c. 1919-1921
Crouching nude (Hockender Akt), woodcut, 1922
Front cover of Der Querschnitt, 1929, Heft 1, January with woodcut by Moissey Kogan, 1919 or before
Front and back covers of exhibition catalogue, Moissey Kogan. Skulpturen und Zeichnungen, Galerie Flechtheim Berlin, Jan-Feb 1929 with woodcut, Two Dancers (Zwei Tänzende), 1922