An estimated 30,000 drawings remain of the concentration camp artworks generated over the course of the Holocaust. Fabricated in a reality conceived to eradicate not just life but the very will to live, concentration camp art raises the question of the persistence of creativity in traumatic situations. This article explores the witness function of concentration camp images through close examination of drawings made by two women artists during their deportation at Ravensbruck. Evident survival strategies to which these images bear witness are examined. The author reflects on the witness function incumbent on the viewer who receives these images of "life within death" today, and takes into consideration ethical issues pertaining to the use of such images. (Contains 9 figures and 1 footnote.)