A very special artwork adorns the platform walls of the subway station at Stockholm University. Look carefully and you will find in it all thirty articles of the United Nations Declaration of Human Rights. Strikingly, all are reproduced in uniform capitals and without spaces between words or periods at the end of the sentences. They include the right to life, liberty, and security of person; the right not to be held in slavery or subjected to torture; the right to freedom of thought, conscience, and religion; as well as the right to an adequate standard of living (Articles 3, 4, 5, 18, 25). The artwork also illustrates the central idea behind this important statement of rights. It is, above all, a matter of a whole, or an assembly, of human rights, none of which can be separated from each other. Each of its articles plays an important role in contributing to that unity which might be described as the declaration’s overarching function: to promote respect for the inviolable dignity of every human being.

      The artwork has its origins in an art project by the French-Belgian artist Françoise Schein titled To Write the Human Rights, or, alternatively, TO INSCRIBE the Human Rights. There is an equivalent mural in the Paris Metro station of Concorde. Realized by the organization INSCRIRE, this global art project is just one of many instances that illustrate the fact that the UN Declaration is one of the most widely disseminated and best-known documents in the world today. (I will use the expressions the UN Declaration, the Universal Declaration of Human Rights and the UDHR as equivalent in the following text.)

      As a student, I used occasionally to stop and look at the articles, wondering about their meaning. Later on, I was fortunate enough to be able to work as a researcher and teacher with a specialist interest in human rights. Initially, I did not think about the individuals involved in drafting the declaration, with the exception of Eleanor Roosevelt, the distinguished