One I really love, it's a cut-out at the bottom here by Eliana Mandlova,

who also doesn't make it out,and it's again an aerial view of an imaginary landscape of trees and mountains,

but the imaginary landscape is made from a piece of official filing paper of some sort, and dates and columns.

And here the material of bureaucracy, filing paper,has been turned by art into a place these children could go to for a while and feel alive and feel free.

Of the 15,000 children who passed through Theresienstadt,barely 150 survived.

Friedl Dicker-Brandeis was murdered at Auschwitz on 9th October 1944.

But thanks to her, the imprint of her young pupils' vitality remains inextinguishable.

Each picture defies the dehumanisation that was the condition of the Holocaust.

But each picture also begs a larger question.

What was art to do in the face of a century of total war and genocide...

A century of revolution...

A century of profound social and technological change...

That's one small step for man,one giant leap for mankind.

A century in which all the hard-won rules of art were themselves torn up and thrown aside?

Was art destined to become no more than a Sunday afternoon distraction?

Or would it seek to be something deeper, more lasting,a way of re-envisioning the world?

Would it be content to occupy a corner of our lives or aim to be at the centre of it?

Is the art of our own time just so much buzz and fashion,a hot investment for the rich,or is it an absolute necessity,the light from humanity's vital spark?