Generalizing and timeless discourses on the ethics of images are useless if they lead to the notion that everything has been seen and considered according to an absolute criterion. How does one survive survival? Georges Didi-Huberman's essays revolve around the sites of the Holocaust and touch upon the trauma of modernity. They traverse the boundaries of what can be said and imagined, questioning the possibilities of remembrance. Where the scientific-analytical presentation of facts risks causing the experiences of the victims and the events themselves to disappear, the artist shapes time-spaces that were previously unthinkable and impossible. In contrast to the musealization of the Holocaust sites, "Sehen versuchen" (Attempting to See) presents the literary and aesthetic legacy through the examples of Imre Kertész, Claude Lanzmann, and Miroslaw Balka, whose living memory remains a persistent challenge.