This past February, French President Nicolas Sarkozy aroused international controversy by revising the national school curriculum, requiring every fifth-grade student to “adopt” one of the 11,000 French children killed in the Holocaust by learning their story. The plan drew wide-ranging criticism for its pedagogical insensitivity and political opportunism. The terms in which Sarkozy framed his proposal––expressly affirming Judeo-Christian values––were especially inflammatory, given the traditional secularism of French governance and the intensity of ongoing debate around the politics of Islam. Less attention was devoted to a new German program in which middle-school classes will study the Holocaust using The Search, a graphic novel about deportations under the Nazi regime. In contrast with Sarkozy’s initiative, what was newsworthy about this project was its lack of controversy, due to the fact that it was introduced to meet increased interest from students themselves. If these episodes indicate the contemporary importance of memory-politics, they also suggest how extensively political and aesthetic considerations overlap in this arena. The Sarkozy proposal borrows its primary conceit—direct identification with a victim—from the United States Holocaust Memorial Museum (USHMM), an institution whose means of address, as critics have noted, is quite close to that of Hollywood epics like Schindler’s List....