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Becker shows how does museography treats the worst mass-crimes ever perpetrated in the Twentieth Century. The author tries to understand the importance of traces at these sites of suffering both in order to write the History and for the sake of cristallisation of memory via commemorations that marked the decades subsequent to the First World War, and also in the tradition of pilgrimage organized to the battle fields. According to Becker, the museum, regardless of its location, does not aim that much at pure intellect but rather towards emotion emanating from visual and olfactory senses. These killing sites make us understand that beyond the cold statistics of losses, a genocide is also, and maybe mainly, the death of a person, and still another person, and another, etc.