ABSTRACT
This chapter explores the ethical requests and ethical 'work' of the Museum of Memory, electing to consider the Museum through the notion of montage understood as aesthetic meditation and deployment of the imagination in response to a request for supplementation. Images become precious to historical knowledge moment they are put into perspective, in montages of intelligibility. Montage is useful concept insofar as it contrasts with the idea that to respond to the photographic image is to retreat into subjective reflection; a montage is active, involving the placing of different traces, examples and different forms alongside one another, to quantitatively and qualitatively expand on singular. For Didi-Huberman, one must always understand the singular fragment, such as archival document or image within method of approach to the archive in which it is not held to simply reflect reality, but is instead 'evidence' that is to be established through repeated cross-checkings and indeed by practice of montage with other documents and other archives.
