Asher knew that he had to paint another crucifixion painting after Brooklyn Crucifixion I because the first painting was incomplete. If he did not paint a sequel, he would be a whore. No one would know but him, but Asher felt that it was important to use the gift to its full extent. "It would have made it more difficult to draw upon that additional aching surge of effort that is always the difference between integrity and deceit in a created work." (Potok, 312).
Like he did in Brooklyn Crucifixion I, Asher painted the vertical line of the wooden panel dissecting his living room window. He added the horizontal line of the drawn Venetian blinds, and the two lines formed a crucifix. Then, he drew his mother with her arms extended along the horizontal and her legs against the vertical, as if she was being crucified. He painted her wrists and ankles tightly bound with the cord from the Venetian blinds. Her body was arched at a strange angle and her face was twisted and deformed in torture. Asher drew his father, wearing a coat and carrying his attache case, placed to the right of her. Then he drew himself placed to the left of his mother, wearing paint-spattered clothes, wearing his fisherman's cap, and holding a brush and a pallet.
To paint his mother's face, he used the cubist method in which an object is viewed from more than one angle in the same picture. He split up her face into three equal parts, with one facing him, one facing his father, and one looking up in misery.
The colors that Asher used were similar to the colors in Brooklyn Crucifixion I. Reds, oranges and yellows were complimented by intense blues and blue-greens. But he added some reddish browns and dark browns to give the painting depth.
"I created this painting-an observant Jew working on a crucifixion because there was no aesthetic mold in his own religious tradition into which he could pour a painting of ultimate anguish and torment." (Potok, 313). Asher needed to use the crucifixion in the painting because it was the only way to show the torture that his mother went through. Asher felt he had to paint it "for the unspeakable mystery that brings good fathers and sons into the world and lets a mother watch them tear at each other's throats." (Potok, 313). She wanted to be a good mother to Asher but loyal to her husband at the same time, but it was not possible because they were always arguing with each other. It was hard for the other Ladover to understand this painting's subject matter because the Jewish people suffered greatly when they were blamed for the death of Jesus. They feel offended and betrayed by Asher's crucifixion paintings because they see what is on the surface of the painting but they are blind to the true meaning of Asher's masterpiece.