Raised by his Polish grandfather deported in Auschwitz, Karin Hoffman's painting carries in incidental clause of the bits of accounts transmitted by this last. Its work is articulated around the concepts of absence, vacuum and lapse of memory, putting in scene the impossibility even of the representation. By the transitional object-choice living the space of the fabric it tries to create the disorder by questioning the viewer. Do these withdrawals of case give to see the residues, the mysteries of a passage, something had place, but what? Boards, fire, smoke, tools? are indication of crime which one will never know the meaning