This thesis examines the art of trauma about mass violence, colonial relations and social suffering. It looks at the visual art, performance, and installation works of artists of Ruth Liberman, Lawrence Paul Yuxweluptun and Miyoung Song and argues that witnessing trauma and reactions of anger and revenge are both related contingencies, and are key pedagogical concepts that should be included in understandings of trauma and art theory. Its foundational theories about witnessing, trauma and revenge are drawn from several theorists, particularly Roger Simon, Shoshana Felman, Jill Bennet, Cathy Caruth and Frantz Fanon. The thesis ends with a chapter that critiques the museum, arguing that it could do more to engage the public in discourses about trauma and memory artworks.