The phrase “back of house” often refers to art gallery processes that are rarely seen by visitors. These include the processes of acquisition, cataloging, conservation, the development and production of exhibitions, and the planning of related public programs. This paper proposes that a psychoanalytic consideration of “back of house” art gallery processes can provide important insights into the nature of trauma that is manifested through creative efforts. It explores some of the psychoanalytic aspects of a unique project concerning the art by survivors of the Holocaust. It highlights trans-generational trauma and how a thoughtful process of acquisition and exhibition can facilitate the working through of a collectively painful experience in a traumatized community.