In Chapter 14, Asher is preparing for his biggest exhibition yet, which will include his controversial crucifixion paintings. His exchange with Uncle Yitzchok about the exhibition includes an instance of dramatic irony:
He would go if there were no paintings of naked women. There were no naked women, I said. What could I tell him? To stay away? He would want to know why. Because you will see crucifixions, Uncle Yitzchok. You will see strange crucifixions painted by a Ladover Hasid who prays three times a day and believes in the Ribbono Shel Olom and loves his parents and the Rebbe. There were no naked women this time, I said.
In the past, Asher's family was offended by the fact that he would draw nudes. As far as they are concerned, nudes are the most offensive thing they could possibly imagine seeing at Asher's show. The dramatic irony here is that Uncle Yitzchok is attending the show with assurance from Asher that there will be no nudes, but meanwhile, the crucifixion paintings that actually wait for him there are so much more offensive than the nudes could ever be. Asher's misleading portrayal of the show to his uncle is irony that Potok uses to build suspense.