ABSTRACT
Holocaust-related art created in Hungary during the communist period fell into two distinct categories: state-commissioned or non-commissioned, i.e., initiated by the artists themselves without state involvement. (Lacking an art market, there were no private commissions.) This division goes deeper than the mere sponsorship of the works: it concerns the actors, their motivations and approach, as well as the meaning, scale, and material of the works. I have already analyzed non-commissioned works in depth elsewhere, therefore only a short characterization of the differences of the two groups of works will be provided here before examining the major state-funded projects in greater detail. 1
