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Four photographs included in the Paris exhibition Memoire des camps in 2001 became the site of sudden controversy amongst a handful of French intellectuals. Taken by the Jewish Sonderkommando—prisoners employed by the SS to assist with extermination—the four photographs in question transmit a rare insider's perspective on the excessive violence of the camps. The controversy was sparked by French art historian Georges Didi-Huberman's contribution to the exhibition catalogue in which he comments extensively on the remarkable existence of these images “in spite of all.” His commentary provoked immediate, negative responses from Gerard Wajcman and Elizabeth Pagnoux, whose scathing critiques were published shortly thereafter in Les temps modernes, a prominent French journal founded by Jean-Paul Sartre and currently directed by Claude Lanzmann, the director of the monumental nine-hour film Shoah.1 This particular debate between Wajcman and Pagnoux and Didi-Huberman is part of a longer standing debate on the so-called unrepresentability of the Holocaust.2 Moreover, as Didi-Huberman suggests, it also tells us something significant about the “thought of images today,” which he argues “comes to a great extent from the political field itself” (2003/2008, p. 57; emphasis in original). While the specificity of phrases like “thought of images” and “political field” is left conspicuously undetermined, Didi-Huberman's statement nevertheless provides a point of departure for considering the iconoclastic impulse of critics such as Wajcman and Pagnoux