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This essay explores the debate that took place between French intellectuals Georges Didi-Huberman and Elisabeth Pagnoux and Gerard Wajcman following the inclusion of four photographs from Auschwitz in a Paris exhibition in 2001. Extending the controversy between Claude Lanzmann and Jean-Luc Godard on the unrepresentability of the Shoah, the debate centered on the role of the photographic image in remembering the Shoah. Departing from discourses of the unrepresentable, this essay reframes the iconoclastic impulse of Didi-Huberman’s critics, according whom the four photographs appear as “symptoms of psychic resistance,” as a mode of enclosure that reflects the intersecting logics of capitalism and psychoanalysis. The essay argues that both the fetishization and the prohibition of the four photographs are structural effects of competing logics in which the enclosure of images is read as a symptom of psychic resistance.