Through the analysis of Ágnes Lukács' album, my thesis seeks to find out whether the narrative and figurative mode of depiction is suitable for representing the Holocaust in fine art. To answer this question, I reviewed relevant international and Hungarian literature, familiarised myself with contemporary discourse on the topic, conducted personal interviews, researched, analysed, and compared numerous Holocaust artworks, and explored Ágnes Lukács's life journey and body of work. As a result of my research, I have come to the conclusion that different modes of depiction have been recognised in different historical periods. However, Saul Friedländer's theory, which emphasises the equal importance of aesthetics, ethics, and historicity, has recently become the nucleus of both historical research and questions of representation. In other words, the once used distinction that separated testimony from art and narrative expression from symbolic expression is no longer of primary significance today. That is why there is a growing interest in the art of Ágnes Lukács.